Steven Wilson: “I’m Just a Nerd Who Fell in Love with the Magic of Making Records”

"It’s, of course, almost impossible to crystallize something in words that is beyond words. I think the combination of music and words is so much more powerful than simply the written word. If you can get those two things in balance, it can almost make you understand what is beyond understanding.”
The songwriter and multi-instrumentalist resurrects Porcupine Tree’s spectral, desolate sound after a 12-year hiatus with Closure/Continuation, bringing listeners both long-awaited catharsis and new hope for the future.
In 2010, Steven Wilson was standing onstage at the Royal Albert Hall in London with his band Porcupine Tree before a sold-out crowd. He hadn’t yet told his bandmates that it would be their last show—at least for a while. The band had been engaged in what felt like a relentless cycle of recording and touring for the 17 years leading up to that point. Despite having gained a dedicated following, they’d never had a hit nor the support of mainstream radio and television—yet they were constantly being told their next record would be the one to break through. But with 10 albums to their name, that still hadn’t happened. Wilson was tired.
The band went on hiatus after that show, and Wilson furthered the pursuit of his solo career (which began in 2008 with the release of his debut, Insurgentes). After a while, fans began to assume that waiting around for a Porcupine Tree reunion was a lost cause.
“I was quite a big contributor to that, too,” Wilson admits. “I would say to people, ‘No, forget it, we’re not coming back.’” But it wasn’t true. “I was telling a white lie just to get them to focus on what I was doing at that point. But actually, behind the scenes, we were working toward something that would eventually herald the return of the band.”
Porcupine Tree - Harridan (Official Lyric Video)
Porcupine Tree’s 11th full-length studio album, Closure/Continuation, marks that return. With the 65-minute, 10-track record, Wilson, drummer Gavin Harrison, and keyboardist Richard Barbieri offer a new collection of compositions that build on the band’s classic sound with a reinvigorated, visceral pulse.
Opening with the guttural, aggressively percussive bass line on “Harridan,” the album navigates through a series of kinetic musical worlds that are, in balance, both pensive and turbulent. The second track, “Of the New Day,” has a plaintive refrain taken from its title, and later on in the album, the haunting, subtly shapeshifting “Chimera’s Wreck” moves through tones of disquiet to create a nearly 10-minute narrative that’s both cerebral and emotive. Other standout tracks include the ominous “Herd Culling,” and the sinister “Rats Return.”
It’s elusive what exactly makes the record something that moves the band forward. It might be the amorphous arrangements, which stay accessible as they seem to breathe even more freely than past works, or the seamless concatenation of foreboding, hopeful, and furious overtones, or the strength in the voice that ties together each of the self-contained, emotionally complex, often dystopian scenes. But in their time away, what Wilson calls the band’s “creative core” seems to have evolved.
“I would say to people, ‘No, forget it, we’re not coming back.’”
Although Porcupine Tree never actually disbanded, there was a gap between 2010 and 2012 where they weren’t seeing much of each other, at least not for composing purposes. Then in 2012, they began a 10-year gestation of material that would end up becoming Closure/Continutation. Their writing sessions were sporadic, says Wilson: In the beginning, they would get together for just a few weeks at a time every other year.
“Part of the reason for that, I think, was that we didn’t want to feel any pressure in making a Porcupine Tree record,” he shares. “A lot of people assumed that we didn’t exist anymore, and I kind of liked that because it meant that we could work on the record in a complete vacuum with no pressure, no expectation, no deadlines.”
The 2020 lockdown motivated them to finally knuckle down and bring the record to completion, but they wouldn’t have gone through with releasing it if they didn’t feel as though they were doing something new. Part of Wilson’s jadedness at the end of that 2010 tour was because he felt, despite its relative chart success, that their last record, The Incident, was largely uninspired. “I felt like we were on a creatively downward trajectory where the music was no longer getting better,” he says. “In fact, it was beginning to sound a bit same-y. And it’s always been very important to me and the band that every record has a sense of evolution from the previous record.”
Porcupine Tree is Richard Barbieri (keyboards), Steven Wilson (guitars/vocals), and Gavin Harrison (drums).
Photo by Alex Lake
With the new album, he feels they’ve succeeded in that respect. “I’m very proud of the music, and I think it’s some of the best I’ve ever made,” he says. “Time will tell how the album fits into the catalog—it’s not something you can judge in such a close proximity. But right now, I’m fairly confident this will become one of the more popular and successful things I’ve ever done in my career.”
The band’s followers might notice that longtime bassist Colin Edwin doesn’t appear on the album. Rather, Wilson plays bass througout. He says filling that role wasn’t at all meant as a slight to Edwin but was a result of how the music came together. “It was just a very natural thing for me to try something different rather than picking up a guitar,” Wilson says. “And we ended up writing so much of the record in that way.”
“A lot of people assumed that we didn’t exist anymore, and I personally kind of liked that because it meant we could work on the record in a complete vacuum with no pressure, no expectation, no deadlines.”
Wilson’s guitar-minded approach to the bass produced a style that diverts from more predictable patterns. “I play bass like a guitar player,” he comments. “I play a lot of stuff high up, I play a lot of melodies, I play a lot of chords, and I don’t perhaps play like a traditional bass player would play.”
Writing on bass helped make the album more groove- and riff-oriented, and less polyphonic overall than past records. The newfound approach also gave Wilson a refreshed outlook on composing. “I’ve been writing on the guitar for the best part of 25 years. And frankly, when I pick it up now, I’m not sure what else I’ve got left to do!” he shares. “But when I pick up the bass, or I go to the keyboard, suddenly there’s so much more that I’ve never done before. I surprise myself more when I play them.”
Steven Wilson’s Gear
Steven Wilson plays his 1963 Relic Custom Shop Tele at London’s AIR Studios while tracking Porcupine Tree’s Closure/Continuation.
Photo by Derek Bremner
Guitars & Basses
- Fender Custom Shop Telecaster
- PRS Singlecut Gold Top
- PRS Custom 22
- Takamine acoustic
- Ovation acoustic (Nashville tuning)
- Babicz Steven Wilson signature model
- Spector basses
Amps
- Bad Cat Lynx
- Supro ’64 Combo
- Hughes & Kettner Tubemeister 5
- Various software plug-ins for recording
Strings
- D’Addario NYXLs
Effects
- Strymon BigSky Reverb
- Strymon TimeLine Delay
- Diamond Vibrato
- Moog Minifooger MF Tremolo
- Origin Effects Cali 76 Compressor
- Source Audio Programmable EQ
- Analog Man Prince of Tone
- Amptweaker Tight Rock JR
- Electro-Harmonix Small Stone Phaser
- Option 5 Rotary Pedal
- Dunlop Cry Baby
- Electro-Harmonix Micro POG x 2 (one octave up and one octave down)
Aside from acoustic strumming and fingerpicking on a few tracks, and edgy riff emphasis on others, the guitar mostly takes a backseat on the album. Wilson supports his arrangements with some solos that embody his quintessential feel for the instrument, but all in all, it’s apparent that the bass was truly the guiding force on Closure/Continuation.
In July, Wilson released another project: a 320-page autobiography entitled Limited Edition of One. Its subtitle, How to Succeed in the Music Industry Without Being a Part of the Mainstream, perhaps serves as its thesis. His story is that of someone who’s had success without ever having quite broken through, and that angle is exactly what helped him decide it was worth sharing.
“I always thought it would be a very boring book. I thought, ‘Well, there’s no book to be written because I don’t have any of those stories about being on the road and drugs and religion and groupies. I’m just a nerd that fell in love with the magic of making records.
“Then the guys at Hachette [the book’s publisher] pointed out to me, actually, that’s why a book on me would be interesting. Because that traditional rock ’n’ roll hedonistic thing … people are bored with that story because they’ve heard it so many times. At that point I became more convinced that maybe I did have a story to tell.”
Porcupine Tree’s new release, Closure/Continuation, had a gestation period of over a decade. The band hasn’t released an album since 2009’s The Incident.
“Love him or hate him, Kanye West is an incredibly innovative producer.”
He also writes, in his book, that he doesn’t see himself as a guitar hero. “I always feel fake and slightly embarrassed when I’m being interviewed for guitar magazines.” At the beginning of our conversation, Wilson says, “I’ll be very boring if I talk about guitars, because I don’t know much about them, to be honest.”
While many consider Wilson exclusively a progressive rock artist, his latest solo record, The Future Bites (2021), is but one of his works that refutes that notion, as it sits comfortably in an electronic or synth-pop category. Given that, it may not come as a surprise that when asked which musicians he thinks are truly progressive today, he’s quick to praise modern hip-hop artists.
Steve Wilson plays his signature Babicz dreadnought at Washington D.C.’s 9:30 Club in 2015. The guitar features Babicz’s unique touchstone of the strings fanning out from the soundboard, and an L.R. Baggs StagePro Anthem system.
Photo by Matt Condon
“Love him or hate him, Kanye West is an incredibly innovative producer,” he says. “Then there’s Kendrick Lamar. When you listen to the way they structure music and the way they make music, it’s so alien to the ear of people that grew up with rock music. I think that’s a really good thing, and that’s why we should listen to it.”
Wilson is less certain on how to make those kinds of innovations in songwriting, or how creative inspiration works: “I’ve no fucking clue.” He draws inspiration from all sorts of things, but also often goes into the studio and just bangs his head against the wall with nothing to show for it. “Yeah, [creative droughts] are really depressing. I get really down when I go through a period where I can’t create anything,” he shares. “I always come to the conclusion that, ‘Oh shit, I’ve written the last song I’m ever going to write. I’ve got nothing left. The well is dry.’ But I also manage, touch wood, to prove myself wrong. What I do is I carry on going to the studio, and I carry on hitting my head against the wall. I have a very strong work ethic.”
“It’s, of course, almost impossible to crystallize something in words that is beyond words,” he continues, reflecting on the ethereality of songwriting. “I think the combination of music and words is so much more powerful than simply the written word. If you can get those two things in balance, it can almost make you understand what is beyond understanding.”
Rig Rundown - Steven Wilson [2019]
See the differences and similarities between Steven's solo setup in 2019 and his current rig with Porcupine Tree for Closure/Continuation.
Talking to Wilson, his affability stands in contrast to the frequently dark and lachrymose themes heard in Porcupine Tree’s music. He explains that, for him, writing sad songs is like an exorcism or an unburdening of his own sadness.
“Miserabilism and melancholy … I’ve always found such a beautiful thing. It’s a profoundly magical thing if you can create empathy through focusing on some of the more negative feelings that we all share. And that’s why I still think that music, where on the surface it might be sad or melancholic or depressing, has the potential to be something incredibly uplifting and beautiful for the person who experiences it.”
YouTube It
Wilson leads Porcupine Tree in a performance of “Lazarus” from the 2005 album Deadwing, illustrating his penchant for introspective, melancholic ballads that find their place among the band’s heavier material.
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Mooer Prime Minimax M2 Intelligent Pedal boasts 194 effects models, 80 preset slots, MNRS and third-party sample file compatibility, an 80-minute looping module, internal drum machine, high-precision tuner, Bluetooth support, and a rechargeable lithium battery.
Over the last few years, Mooer has released several Prime multi-effects devices, including the Prime P1, P2, S1, and most recently in 2024, the Prime Minimax M1. Excitingly, the company is kicking off 2025 with a brand new addition to the Prime family–the Prime Minimax M2 Intelligent Pedal.
Within this small multi-effects device, a whole lot of functionality is packed in, including an impressive 194 effects models, including overdrive, preamp simulators, cabinet models, delays, reverbs, modulation effects, etc., and more. In typical Mooer style, though, the company took things a step further by offering limitless flexibility through the support of its in-house MNRS sample files, as well as third-party IR sample files. Essentially, this means that users can download additional tonal emulations and effects from the Mooer Cloud and third-party sources to the device, which they can then save across 80 preset slots.
As with some past models in the Prime series, the M2 sports a convenient touchscreen design, facilitating easy browsing through the devices banks of presets. However, guitarists are not limited to interfacing with the pedal in this way, as it also features two footswitches, both of which can be used to switch between presets in each bank. There is even a MIDI jack built into the device, enabling users to connect their MIDI controllers to extend the control functions, and the MOOER F4 wireless footswitch support is also supported. Essentially, these augmentation options facilitate additional footswitches to ensure switching preset tones is always as quick and seamless as possible within any workflow.
While the Prime M2 Intelligent Pedal is primarily designed for effects and tonal simulations, it also comes packed with an array of other useful features. For example, it contains a looping module with a hefty 80-minute capacity, in addition to 10 recording save slots to ensure that any looping creations can be kept for future use in performances. Similar to past looper modules in Mooer's products, users are also free to overdub their recordings and even undo or redo their overdubs, offering a lot of real-time flexibility for creating loop-based musical structures.
As if the addition of a looper wasn’t enough, this feature is also synchronizable with an internal drum machine and metronome, a combination that includes 56 drum grooves and 4 metronome varieties. Ultimately, it’s a reminder that Mooer clearly recognizes and wishes to solve the struggles that musicians have when attempting to produce precise loops while staying in time. Upon commencing recording, the drum machine can produce four initial beats to serve as a count-in cue, and of course, this can be combined with the device's tap-tempo control for dynamic use. Best of all, this feature can also be applied to modulation and delay effects, ensuring that they work perfectly in time with any performance.
Extra features are included to complete this all-in-one pedal, including a high-precision tunerwith fully customizable frequency ranges. Guitarists can even leverage the M2’s built-inBluetooth input support, allowing them to practice, jam, and even produce looped musicalstructures over their favorite backing tracks, band prototypes, and musical pieces.
Perhaps unsurprisingly for existing Mooer product users, the Prime M2 also boasts an impressive variety of audio routing systems. As was previously mentioned, that includes Bluetooth input, as well as industry standards such as dual-channel stereo output, perfect for stereo delay and modulation effects. It also supports headphone output for those who wish to practice in silence, and even OTG recording, which means that guitarists can record their creations directly to their smartphone whilst on the go.
Speaking of on-the-go, Mooer is continuing its recent portable-play focus with the Prime M2Intelligent Pedal, as it is fitted with a built-in rechargeable lithium battery with a battery life of up to 6 hours. Ultimately, this means that even a lack of local power sources won’t get in the way of rehearsals and live performances. Combined with the pedal’s lightweight and small build, it truly is an ideal addition to the pedalboard of any traveling musician.
Overall, the Prime M2 Intelligent Pedal is set to be an impressive new addition to the Prime series. It features augmented functionality when compared to past models, yet still in a minimalist and easy-to-use package, keeping the size small and light yet still packing in footswitches, a touch screen, and other flexible control systems.
Features:
- 194 built-in effect models and tonal emulations
- 80 preset slots for storing downloaded MNRS and third-party sample files
- Compatibility with the MOOER Cloud tone-sharing platform
- Built-in 80-minute looping module
- Record, overdub, pause, delete, and playback functions for looping
- Internal drum machine module, stocked with 56 drum grooves
- 4 unique metronomes
- Synchronization between drum machine and looper
- Convenient count-in cue function support from the metronome
- High-precision and customizable tuner module
- 2 multi-function footswitches
- 1.28-inch touchscreen interface
- LED digital display
- LED charge indicator
- Portable USB/OTG recording
- Direct compatibility with the MOOER prime mobile APP and MOOER Studio desktop software for preset management
- Bluetooth 5.0 audio playback
- 3000mAh integrated lithium battery with up to 6 hours of use time
- DC 5V/2A power supply and charging
- 3 hours charging time
- Low weight of 228g
- Compact, at 74mm (L), 125mm (W), and 49mm (H)
- Sample rate of 44.1kHz
- Bit depth of 24bit
- Compatible with MOOER F4 wireless footswitch
- 3.5mm MIDI port
- Mono TS ¼” input
- Stereo TS ¼” output
- 3.5mm headphone output
- Power switch button
The Prime Minimax M2 Intelligent Pedal will be available from the official distributors or retailersworldwide.
For more information, please visit mooeraudio.com.
Kirk Hammett has partnered with Gibson Publishing to release The Collection: Kirk Hammett, a premium hardcover coffee-table photo book where Kirk tells the stories behind his rare and collectible instruments.
“I am thrilled to announce the launch of The Collection: Kirk Hammett. I’ve worked diligently on this curated collection of vintage and modern guitars for the book. I feel the book captures the rich history and artistry behind each of these unique and rare instruments. Every picture tells a story and thanks to Ross Halfin and his exceptional photography, every picture in this book is worth a million words! This book could not be possible without the help of Gibson, so I’d like to thank them for making my passion for Greeny, and guitars a reality. I hope all of you enjoy this journey as much as I did.”
“It’s exciting the time has come to release The Collection: Kirk Hammett by Gibson,” adds Cesar Gueikian, President and CEO of Gibson. “We have been working on this project with Kirk for years now, and I had the opportunity to work closely with Kirk on the composition of the collection for the book. It was a thrill to put this together and it took a village to get it done! I hope everyone appreciates the work that went into this book and enjoys every story behind the guitars.”
The Collection: Kirk Hammett, Custom Edition is limited to just 300 numbered copies signed by KIRK HAMMETT and comes in a huge 19 x 14.5” (490 x 370mm) presentation box featuring custom artwork and an outstanding case candy package. In addition to the large-format 17 x 12” (432 x 310mm) hardcover version of the book with a stunning lenticular cover, the boxset includes a frameable 16 x 11.6” (407 x 295mm) art print of a Ross Halfin portrait of KIRK HAMMETT signed by both Halfin and the Metallica guitarist. Other case candy includes an Axe Heaven miniature replica of Hammett’s 1979 Gibson Flying V with case and stand, an exclusive pick tin complete with six Dunlop® Kirk Hammett signature Jazz III guitar picks, and a Gibson Publishing Certificate of Authenticity.
Explore The Collection: Kirk Hammett book HERE.
The collection includes Cobalt strings with a Paradigm Core, Tim Henson Signature Classical Strings, and the Tim Henson Signature FretWrap by Gruv Gear.
Engineered for maximum output, clarity, and durability, these strings feature:
- Cobalt with a Paradigm Core (not RPS) for added durability
- Nano-treated for maximum lifespan and corrosion resistance
- Gauges 9.5, 12, 16, 26, 36, 46 (Turbo Slinky set)
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature Classical Strings
Crafted for dynamic, percussive tonality, these strings pair fluorocarbon trebles with silver-plated copper basses to deliver exceptional response and clarity.
- Gauges: 24, 27, 33, 30, 36, 42
- Available individually or as part of the Tim Henson Signature Bundle
Tim Henson Signature FretWrap by Gruv Gear
An essential string-dampening tool, the Tim Henson Signature FretWrap is designed for cleaner playing by eliminating unwanted overtones and sympathetic vibrations.
- Features Tim Henson’s custom ‘Cherub Logo’ design
- Size Small, fits 4-string basses, 6-string electric/acoustic guitars, and ukuleles
- Ideal for live performance and studio recording
- Ernie Ball collaboration with Gruv Gear
- Available individually or as part of the Tim Henson Signature Bundle
The Ernie Ball Tim Henson Accessory Bundle Kit
For players who want the complete Tim Henson experience, the Ernie Ball Tim HensonSignature Bundle Kit includes:
- Tim Henson Signature Electric Strings (9.5-46)
- Tim Henson Signature Classical Strings (Medium Tension)
- Tim Henson Signature FretWrap by Gruv Gear (Small)
- Tim Henson Signature Cable (Exclusive 10ft white dual-conductor cable, only available in the bundle)
The Tim Henson Signature String & Accessory Collection is available starting today, March 19, 2025, at authorized Ernie Ball dealers worldwide.
For more information, please visit ernieball.com.
Ernie Ball: Tim Henson Signature Electric Guitar Strings - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Teamwork makes the dream work for the Charleston, South Carolina, twosome, who trade off multi-instrumental duties throughout their sets.
Michael Trent and Cary Ann Hearst have been making music as Shovels & Rope since 2008. The husband-and-wife duo from South Carolina specialize in rootsy, bluesy rock, Americana, and alt-country, but they don’t confine themselves to traditional two-piece arrangements. They switch off on vocal, guitar, percussion, and synth duty throughout their shows, orchestrating a full-band ruckus with all available limbs.
Their seventh full-length, Something Is Working Up Above My Head, released in September last year, and while touring in support of it, they stopped at Nashville’s Brooklyn Bowl in late February. PG’s John Bohlinger caught up with Trent before the gig to see what tools he and Hearst use to maintain their musical juggling act.
Brought to you by D’Addario.Black Bird
Trent’s not a guitar snob: Generally speaking, he plays whatever he can get his hands on. While playing Eddie Vedder’s Ohana Fest, someone loaned him this Gretsch Black Falcon, and he fell in love with it. He likes its size compared to the broader White Falcon. It’s also the band’s only electric, so if it goes down, it’s back to acoustic. Hearst takes turns on it, too.
Trent loads the heaviest strings he can onto it, which is a set of .013s. It lives in standard tuning.
Ol' Faithful
As Trent explains, he and Hearst have done some DIY decorating on this beautiful Gibson J-45—it’s adorned with sweat droplets, stains, and fingernail dust. It runs direct to the venue’s front-of-house system with an LR Baggs pickup. This one is strung with Martin heavy or medium gauge strings; lighter ones are too prone to snapping under Trent’s heavy picking hand (which holds a Dunlop Max-Grip .88 mm pick). And it rolls around in an Enki tour case.
On Call
These second-stringers—a Loar archtop and an LR Baggs-equipped Recording King—are on hand in case of broken strings or other malfunctions.
Need for Tweed
Trent doesn’t trust amps with too many knobs, so this tweed Fender Blues Junior does the trick. It can get fairly loud, so there’s a Universal Audio OX Amp Top Box on hand to tame it for some stages.
Shovels & Rope's Pedalboard
Because Trent and Hearst trade off bass, guitar, keys, and percussion duties, all four of their limbs are active through the set. Whoever is on guitars works this board, with an MXR Blue Box, Electro-Harmonix Nano Big Muff, EarthQuaker Devices Hummingbird, and Boss OC-5, plus a pair of Walrus Canvas Tuners for the electric and acoustic. Utility boxes on the board include a Walrus Canvas Passive Re-Amp, Radial J48, Livewire ABY1, and a Mesa Stowaway input buffer.
A Roland PK-5 MIDI controller, operated by foot, sits on the lower edge of the board. It controls the board for “Thing 2,” one of two MicroKORG synths onstage.
Thing 1 and Thing 2
There’s no one backstage helping Hearst and Trent cook up all their racket; they handle every sound themselves, manually. During the first few sets of a tour, you’re liable to see some headaches, like forgetting to switch synth patches during a song, but eventually they hit a rhythm.
Affectionately given Seuss-ian nicknames, this pair of microKORGs handles bass notes through the set, among other things, via the foot-controlled PK5. “Thing 1” is set up at the drum station, and runs through a board with an EHX Nano Big Muff, EHX Bass9, EHX Nano Holy Grail, and a Radial Pro DI. A Walrus Aetos keeps them all powered up.
The board for “Thing 2,” beside the guitar amps, includes an EHX Mel9 and Bass9 powered by a Truetone 1 SPOT Pro, plus a Radial ProD2.