The last time we reviewed a Steven Wilson album was in 2017 when he released To the Bone. Since then, he has released a couple of strong records which, due to their more pop and electronica nature, weren’t quite suitable for a publication like Metal Revolution. In the time since, Wilson has also revived Porcupine Tree for Closure/Continuation, their first new album in 13 years, as well as embarked on a highly successful tour.

Perhaps it was that experience that inspired Wilson to dig back into his prog rock roots and create an album that leans more toward classic prog rock. Another reason might be that, regardless of how much Wilson might want to avoid the prog rock label, it remains what he is best known for and what the majority of his fans appreciate the most. Or did his remaster/remix of the forthcoming re-release of Pink Floyd at Pompeii – MCMLXXII play a role?

There is, of course, also the fact that the album’s concept is based on the “overview effect,” and it seems logical to translate such a vast subject into an epic concept. There is something about the theme that almost demands more than just a collection of shorter songs connected by an overarching idea.

When it was announced that The Overview would consist of two long songs, it sparked joy among fans of Wilson’s earlier work as well as his work with Porcupine Tree. But Wilson has a tendency to defy expectations, and even though The Overview embraces a classic prog sound, it still comes as somewhat of a surprise. First, for a notable portion of his newer audience, who are more familiar with his recent albums—even though those also featured a few tracks exceeding 10 minutes. And second, for longtime fans who have followed Wilson since his Porcupine Tree days and perhaps expected another The Raven That Refused to Sing (And Other Stories) or even a new In Absentia.

Any Wilson fan will find something to appreciate in The Overview, but most may not get exactly what they hoped for. Wilson does things his own way and often seems driven by a rebellious spirit—The Overview is no exception.

Sure, he embraces prog perhaps more than ever before, especially on the 23-minute-long opener “Objects Outlive Us,” where he looks back at Pink Floyd, King Crimson, Can, and other pioneers who defined the genre. But on the 18-minute-long title track, Wilson also revisits elements of his more recent work, particularly his previous album The Harmony Codex. As such, The Overview offers something for all types of Wilson fans while also demanding a lot from them.

Digging deeper into the two tracks—beyond being a quintessential 70s-style prog rock piece—“Objects Outlive Us” is a dynamic composition that traverses the entire spectrum of the genre. Beautiful atmospheric passages are interwoven with jam-heavy rock sections, creating a complex yet crystal-clear sonic tapestry. The song’s musical structure supports the album’s overarching narrative, and despite its distinct departure from the previous album’s approach, it surprisingly complements it. Try playing it right after “Staircase,” the closing track from The Harmony Codex. That’s the beauty of Wilson’s music—despite evolving drastically with each release, it remains undeniably his, and his entire discography maintains a cohesive thread.

Case in point: the title track, which, despite its stylistic shift, not only fits with the rest of this album but also aligns with much of Wilson’s solo discography and some of his earlier Porcupine Tree work.

It remains a song that complements “Objects Outlive Us” and the album in general, yet it carries a more experimental, contemporary prog rock feel. However, this works in the album’s favor, as it marks a thematic shift in the concept—moving from a human perspective to an interstellar one—necessitating a corresponding musical transition without feeling out of place.

That said, the album’s heavy conceptual focus results in fewer truly memorable moments. The Overview lacks the bone-chilling songwriting and direct emotional depth found in tracks like “Rock Bottom,” “Refuge,” “Drive Home,” or “Index.”

After a few listens, the long narrative sections go from tolerable to irritating, and they are unlikely to become more enjoyable over time. While they may serve their purpose in the accompanying film, their effectiveness in a purely musical context is not a positive one. Similarly, Wilson’s falsetto is an acquired taste—whether you like it or not, it never quite reaches the emotional heights and silky flow of Thom Yorke’s, no matter how much Wilson might aspire to it.

Sonically, this may be his best-sounding record yet—and that’s saying a lot. The production is utterly breathtaking, making the overall sound play as significant a role in the experience as the music itself. In fact, the sonic experience is arguably the album’s true highlight, making it a rewarding listen despite its shortcomings. Another of its strengths is the way it functions as a cohesive 42-minute journey; there aren’t really standout peaks, but rather an immersive experience that demands to be taken in as a whole.

Wilson’s love for music is as vast as it is diverse, and that has always been reflected in his work—it remains one of his greatest strengths. However, he is also notoriously stubborn, sometimes driven by a need to subvert expectations. Undoubtedly, several of his releases have been shaped by a desire to do the unexpected, a tendency that can be traced all the way back to his solo debut. This contributes to an unpredictable discography, but it also fuels his creativity—an essential element of his artistry. That said, it occasionally results in music that feels more like a reaction against expectations than a fully realized artistic statement.

The Overview may be Wilson yielding to the pressure of returning to his prog rock roots, but he does so in a quintessentially Wilson way—by not truly giving in to the pressure after all. The album delivers what fans anticipated, yet at the same time, it several plenty other aspects. As a result, it succeeds in what it sets out to do, but it also falls victim to its own hype.

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