Steven Wilson: Insights Gained from King Crimson’s Legacy and robert Fripp’s mastery
Steven Wilson is well-acquainted with the complexities of progressive rock.His extensive work includes remixing a plethora of classic prog albums, spanning from the legendary Jethro Tull to the groundbreaking sounds of Marillion and Yes.
Wilson frequently enough collaborates closely with the original artists to breathe new life into their timeless recordings, a process that has profoundly influenced his understanding of the genre.
Through this journey, Wilson has gained invaluable insights into what makes Robert Fripp such a celebrated guitarist. His initial venture into remixing began in 2009 when he was given the possibility to revitalize King Crimson’s seminal 1969 album,In the Court of the Crimson King.He describes this moment as a “perfect storm,” where his rising reputation as a mixing engineer aligned with King Crimson’s catalog revival.
Wilson’s path to this pivotal moment was not without its challenges. Frustrated with other engineers making decisions about Porcupine tree’s music that didn’t resonate with him, he realized he lacked the skills and technology to take control of the situation. “I didn’t have the tools or knowledge back then,” he shared with Sound on Sound.
persistent to change this, Wilson immersed himself in learning the art of mixing, and his work on Porcupine Tree’s 2007 album, Fear of a Blank Planet, which garnered the band its first Grammy nomination, marked the beginning of his journey.
however, Wilson acknowledges that there was still much to learn. “I was confident enough to think I understood how those records should be approached because they’re part of my DNA,” he told Prog. “My fans often know the music better than I do.”
he draws parallels with the Crimson catalog, noting that while fans are intimately familiar with those records, Fripp himself had not revisited them for decades. “For musicians, revisiting past work can be challenging; it brings back memories of conflicts, record label issues, and the touring grind,” he explained.
Wilson’s remixing project opened his eyes to the essence of King Crimson’s artistry. “I discovered that manny of their albums share a kinship with jazz and avant-garde movements from the British jazz scene of the early ’70s,” he elaborated. “Unlike many contemporary records that are meticulously timed, Crimson’s music often fluctuates in tempo, creating an exhilarating listening experience.”
He realized that the thrill of their music stemmed from the band’s willingness to embrace uncertainty. “The band often played on the edge, with their music teetering on the brink of chaos,” he noted.
Conflict was another recurring theme in the band’s history. Fripp frequently found himself at odds with band members,management,and the media,all of which contributed to the tumultuous nature of their recordings. “Every King Crimson album was a struggle,” Wilson remarked. “It was a battle between Robert and the band, the record label, and even the press, which often declared them irrelevant.”
Wilson’s experiences also shed light on the man behind the music. Former King crimson vocalist Jakko Jakszyk humorously noted that Fripp once accused him of softening his tough persona when he praised him in interviews.
Additionally, there’s the anecdote of Fripp providing valuable guidance to guitarist Steve Vai during the Beat tour. Even though Fripp was not directly involved, he took the initiative to watch footage of the early shows to offer Vai constructive feedback. This illustrates that while he may have been perceived as a hardliner, he also possesses a supportive side.
There exists a contrast between Robert Fripp,the enigmatic figure,and Robert Fripp,the dedicated prog rock innovator.“He’s incredibly humble,” Wilson reflects. “He struggles to comprehend why such myths have developed around him and why there’s such fervent passion for his music. He views it differently than the rest of us.”
“You’d have to be quite egotistical to want to listen to your own music. Once I finish a record, I prefer not to hear it again for a long time,” he added.
Currently, Wilson has returned to his role as a creator with his latest solo album, The Overview. In an interview with Guitar Player, he discussed how his approach to guitar tones has redefined contemporary guitar solos.
“Many classic guitarists can deliver beautiful solos, but they frequently enough lack innovation in their sound,” he noted. His guitarist, Randy McStine, exemplifies this understanding. “We dedicated significant time to finding the right sound before even considering how he would play or the scales he would use. It was a way to redefine the classic extended rock guitar solo.”
