Album review: 'Insurgentes' by Steven Wilson

Insurgentes

Insurgentes is full of beautiful sounds that refuse to stay comfortable. A melody can establish a calm surface, then distortion or a low, persistent texture starts to change the space around it. Steven Wilson makes that instability the record's main attraction, allowing a song's atmosphere to become part of its argument.

Harmony Korine is the most direct opening he could have chosen. Its guitar figure and rising melody offer a familiar rock shape, but the density of the sound suggests that the album will not remain there. Abandoner makes good on that suggestion. A processed beat and sparse guitar create an enclosed setting before a much harsher sound breaks through. The return to quiet feels changed by what has interrupted it.

Salvaging works on a larger scale, joining a heavy, slow-moving guitar sound to a contrasting string passage. The arrangement is willing to linger in an uncomfortable mood. At its strongest, that patience makes a small change in texture feel consequential; at other times, the production seems more developed than the song underneath it.

No Twilight Within the Courts of the Sun gives the musicians a more overt instrumental challenge. The forceful ensemble playing and piano passage create an arresting contrast, with enough rhythmic tension to keep the extended track moving. Significant Other finds a more compact way to join melody and abrasion, letting an attractive tune remain audible inside the harsher surroundings.

The title track closes with a quieter kind of strangeness. Piano and Michiyo Yagi's koto give it a sparse, tactile character, making the end feel intimate without becoming entirely settled. It is a good conclusion to a record whose identity depends on the friction between beauty and unease.

Insurgentes can sometimes drift toward a sequence of carefully designed environments rather than a set of equally compelling songs. Yet the strongest pieces turn that design into emotional movement. Wilson's first solo album has a clear curiosity about what happens at the edges of a melody, and enough memorable writing to make the exploration more than an exercise in sound.