ALL THAT YOU ARE

This is a surprisingly good single issued a full two years after the album it's culled from, 2001's 'Returning Jesus' - and in the same year as NO-MAN's next album. Confused? But then no-one could accuse this talented duo of doing things by the book.

The title track was a sensational closer to 'Returning Jesus', with an ethereal vocal sample providing sonic balance to TIM BOWNESS's breathy vocals and STEVEN WILSON's restrained musicianship. It has a lovely melody and is well worth a listen, albeit in a slightly edited form (I guess) to fit under the UK 20-minute single restriction. 'Until Tomorrow' is one of two tracks exclusive to this release, and is a simple plucked banjo (!) backing BOWNESS. Makes no real impression. 'Chelsea Cap' is a curious omission from 'Returning Jesus', as it is an outstanding track and could stand as a single on its own. The NO-MAN enthusiast or collector needs this single for this track: the only other place it's available is the 2 CD compilation, 'All The Blue Changes'. It has the feel of a PORCUPINE TREE track from the 'In Absentia' or 'Lightbulb Son' albums, with a true PT chorus and lovely Hammond organ. A sadly under-appreciated gem, this. 'Darkroom' is a more experimental track, a haunting off kilter piano leading into a dark house full of forbidding noises. I've never heard destiny compared to an orange toothbrush before, I'll admit. I do like this track. The single finishes with an unnecessary valve-radio-muffled reprise of 'Until Tomorrow'. Pass.

If you like PORCUPINE TREE or NO-MAN, make sure you get to hear 'Chelsea Cap'.

This EP contains one song (the title track) from the "Returning Jesus" album while the other tracks are previously unreleased outtakes from the "Returning Jesus" sessions.

"All That You Are" is pastoral with those reserved vocals until we get a fuller sound after a minute as drums and organ join in.This contrast continues. There's some passion in those vocals after 2 1/2 minutes. Nice. "Until Tomorrow" is pretty much banjo (it works) and vocals throughout. Some brief synths after 2 minutes. A very understated song that is actually reprised as the final track on this EP. "Chelsea Cap" opens with synths and drums as keys join in followed by vocals. I'm reminded of PORCUPINE TREE when the sound gets fuller on the chorus. Nice bass here from Colin Edwin. Some flute from Theo Travis follows. Themes are repeated.

"Darkroom" is haunting with piano to open. Percussion and almost spoken vocals join in. Synths a minute in. I like when he sings slowly before 2 minutes and you can hear samples. Such a cool track. The reprise of "Until Tomorrow" is done in such a way you would think your listening to it on an old scratchy LP.

I think like russellk I have to give 4 stars. It's sometimes hard to give that rating for an EP but this is a very worthwhile recording and i'm proud to own it.

EP release from 2003 by No-Man. Contains just about 20 minutes of music and features Stephen Wilson of Porcupine Tree and Tim Bowness. Unfortunately, this does not excite me in the same way as Porcupine Tree or even Blackfield. I am more of a fan of the harder Steven Wilson tracks and when he gets mellow I tend to tune out too easy, with few exceptions. This is a good release but not a great release. It will not be often played in my house, I am sad to say. Having heard it once or twice I need it no more. 3 stars.

This is a 5 track EP starting off with the extremely beautiful song "All That You Are" in a slightly edited form. This is one of No- Man's most beautiful songs, simple with Tim Bowness' amazing vocals, Steven Wilson's subdued guitar and very atmospheric instrumentals. This track comes off of the album "Returning Jesus" and the full version is found on that album. The remainder of the EP contains 4 other unreleased tracks, that could have been outtakes, but are actually as top rate as the title track.

"Until Tomorrow" is Tim being accompanied by a strummed and plucked banjo. This is far from just another acoustic song though, it is another lovely example of Tim's emotional, spacey vocals which are showcased beautifully here. An atmospheric electric guitar joins in on the instrumental break, and then goes away on the 3rd verse. No percussion, just simple beauty here. "Chelsea Cap" is available on other compilations, but at the time was unavailable until this release. This one is a full band song, The chorus has harmony reminiscent of many Steven Wilson songs, and almost could have been a Porcupine Tree track, except with Tim's lush voice. On the instrumental breaks here, we are joined by a flute played by Theo Travis., who has worked with Robert Fripp from King Crimson and many jazz musicians. There is also a lovely guitar solo here too, albeit too short. Colin Edwin from Porcupine Tree also joins on this track on bass.

"Darkroom" starts with a subdued piano and programmed percussion and Bowness almost whispering/singing the melody which is very dark sounding. It stays dark and mysterious until about 3:20 when percussion kicks in with synth accompaniment, then later strange guitar growls and moans come in. An interesting song with a nice, dark atmospheric mood. The EPs ends with a Lo-fi version of the 2nd track "Until Tomorrow", which could either be lo-fi as it says, or just processed to sound that way, like on an old radio or phonograph. This adds to the atmosphere of the previous track, but is mostly not necessary.

This is a great EP that might be a little hard to find, but contains some great tracks that would have fit well on any album. Most of the tracks can be found on collections, but it might be hard to find them all together as on this recording. This would be an excellent addition, even though it is short, to your prog rock collection. Mysterious, haunting and beautiful, the songs all fit together quite nicely.