Since the beginning of his (solo) career, Steven Wilson has tirelessly made it a point not to release the same album twice in a row. In this, we must recognize a certain constancy that has always accompanied him with the primary motivation of seeking greater recognition. He approached in turn electronic music (No-Man), elitist and noisy ambient (Bass Communion), accessible melancholic pop (Blackfield) and, with Porcupine Tree, psychedelic, progressive, pop and finally metal to finish on a concept album, all at a rhythm of several records for each of these periods.
All these projects, some of which are still in the news today, can be considered as stylistic laboratories thanks to which Steven Wilson blossoms on his own with great success so far, both critically and with a public that is more and more numerous to follow him. Nevertheless, while this audience is growing, early fans are beginning to doubt the artist's ability to maintain his inspiration and the quality of his compositions because of the rapid pace of these changes in style.
Unsurprisingly, as announced, the new album is more contemporary, more modern, more topical music. Gone are the electric guitars and the somewhat progressive and jazzy developments that still sometimes enameled some of the pop tracks on the last album... Here the listener is bathed in direct trip hop electro made in Wilson with the underlying question: has he managed to transcend style?
"The Future Bites" by its nature is Steven Wilson's most accessible album and probably the most likely to make him known. After a short intro that announces the color, 'Self' reveals itself under rather cheerful finery, notably by female choirs that will be found several times in the album. After this rather simple track, 'King Ghost' enhances the interest with a heady melody embellished by the leading voice of Steven Wilson and very good arrangements. If Prince was an inspiration for 'To The Bone', it is found on 'Eminent Sleaze' with bass and gospel vocals that blend rather well in the title but whose lack of development is striking. This is one of the first times that we feel a continuity between two albums rather than a marked change, as evidenced by 'Follower' which is reminiscent of 'Detonation' on 'To The Bone'.
By dint of simplifying his subject, his music becomes almost commonplace, at the risk of blurring the Wilson's touch that he had managed to instill in his compositions until now, especially in the melancholic aspect. This is fortunately found in 'Man Of The People', one of the best tracks of the album and in the closing track 'Count Of Unease' which reminds a bit of 'Song Of Unborn'. '12 Things I Forgot' is a bit of an intruder, as it has an acoustic and organic pop atmosphere that could easily have found its place on a Blackfield album. Finally, 'Personnal Shopper', with its nine minutes, could still hold out hope for convoluted constructions that Steven Wilson likes to offer. Alas, the title suffers from a strong linearity, and Sir Elton John's intervention does not bring much in a role that goes against his usual exuberance.
Add to this the fact that the album denounces over-consumption while at the same time offering a multitude of expensive media and versions for purchase, and the message may be misunderstood. Finally, "The Future Bites" is not unpleasant but leaves an aftertaste of unfinished work, despite a few good tracks, revealing a somewhat new and assumed aspect of Steven Wilson, wrapping a claiming speech under rather catchy rhythms. Steven Wilson holds there his "Let's Dance". As he says : "The album which allowed Bowie to reach the general public... but which makes him lose his fans of the first hour".