MY HOTEL YEARS - REVIEWS

Andrew Keeling - Krimson News, Friday 29th October 2004

Listening to the new album by Tim Bowness, My Hotel Year. To my mind this TB's most successful collection of songs so far. Songs of great fragility or love songs for the new millenium. There are unusual twists and turns within the direction of the songs, sudden unexpected cuts such as the one at the end of the first track, last year's tattoo. Although I'm constantly searching for harmonic innovation it's as though some of the contemporary singer-songwriters which, of course, Bowness is, use what is known whilst transforming what might be regarded as a cliche through expressive textural layering. There are influences to be detected: the stark beauty of Harold Budd for example on world afraid although presented here combined with subtle percussion. Strangely, the piano part is very like the structural harmony found in my own orchestral piece Upon the Edge of Autumn (1994). But it's doubtful Bowness has ever heard this. This particular song has a poignancy difficult to verbalise. It's what's not there that seems to count more than what we actually hear. 'In you I dissolve' or 'The tension keeps us near.' Metaphorically, the silences dissolve the tension. Bowness' lyrics express a great deal without resorting to cliche or ever being self-indulgent. With the presence of Markus Reuter there is the close connection to the music of Robert Fripp, but Reuter's touch guitar and bass are beautifully unobtrusive. making a mess in a clean place is one of my favourites with Hugh Hopper's fuzz bass massively foregrounded, and the sound-space of ian mcshane makes up for the slimmed-down harmonic language.

Things go left to right and back again in the box. 'I drift in search of harmony...a thousand years of history made see-through' Bowness sings.

Clearly he's an observer and in this sense his is a form closely connected to that which Nick Kent once called, 'tiny epigrammatic proverbs' when writing about Nick Drake.

Dan Cairns - Sunday Times 'The Month', Sunday 31st October 2004

The nomadic loner, haunting the hotel bar and, as VS Pritchett put it, "travelling... not to broaden the mind but, if possible, to narrow it". We have all been there, or encountered such people. Nursing, alongside the Scotch, innumerable heartaches and hatreds, alone in a world of cellophane-wrapped soap and unfathomable shower controls, they sink into the mire of their isolation. Tim Bowness, one half of the minimalist miserablistsNo-Man, captures such sentiments unblinkingly on a superb album that is all sighed vocals, exposed, vaguely creepy piano motifs and lyrics marooned in self-absorption and regret. Too often this sort of approach makes you want to scream and reach for the remote. Bowness, though, pitches it just right: emotions are raw and stripped bare. There but for the grace of God, you think, go I.

Bernard Sievers - Eclipsed, November 2004, Recommended Release

Der Mann ist schon viele Jahre im Muskgeshaft und an vielen Projekten beteiligt gewesen. Noch mehr Alben druckte er durch seine zerbrechlich wirkende, intime, sensible Stimme seinen Stempel auf. Und doch gehorte er genau genommen nie einer richtigen Band an oder verooffenlichte ein Solo-Album. Ein Projektmitarbeiter par excellence sozusagen. Doch nun endlich gibt es mit "My Hotel Year" sein Solo-Debut. Die rede ist von Tim Bowness, am ehesten wohl bekannt als Sanger von No-Man, seinem gemeinsam mit Porcupine tree-Chef Steven Wilson betiebenen Projekt. Auf "My Hotel Year"
sind die alten No-Man Kollaborateure David Picking oder Stephen Bennett ebenso zu horen wie die Soft Machine-Legende Hugh Hopper und das deutshce Elektronik-Duo Centrozoon. "My Hotel Year" reiht sich so stilistisch irgendwo in der Mitte von Tim Bowness' Projekten ein: Es bietet den eleganten pop von Samual Smiles, die Elektronikspielereien von Darkroom, die filigranen Arrangements von No-Man und das subtile Ambeiente des Duos Bowness/Chilvers. Doch uber allem thront seine Stimme. Die songs sind langsam, eher sparlich instrumentiert, oft nur von Piano und Gesang gepragt hoch melodios, aber stets nachdenklich. Das ganze Album erscheint wie aus einem Guss. entfuhrt in eine tiefsinnige Gedankenwelt, bietet aber auch kein echtes Highlight, keinen song, der sich deutlich abhebt.

This man has already been involved in the music business for many years, in many projects. Many more albums have been imprinted by the stamp of his fragile, working, intimate, sensitive voice. In spite of this, it has never been heard at precisely the right level or in the full light of a solo album. He has been a project worker par excellence, as it were. But now finally there is "My Hotel Year", his solo debut.

We're talking about Tim Bowness, first known and probably best-known as the singer for No-Man, his joint project with Porcupine Tree boss Steven Wilson. On "My Hotel Year" former No-Man collaborators David Picking or Stephen Bennett can be heard, as can Soft Machine legend Hugh Hopper and the German electronics duo Centrozoon.

"My hotel Year" lines up, stylistically, somewhere in the center of Tim Bowness' projects: it offers the elegant pop of Samuel Smiles, the electronic playing of Darkroom, the arrangements of No-Man and the subtle ambience of the Bowness/Chilvers. But over everything else is that voice. Songs are slow, rather sparsely instrumented - often only piano and singing, gepragt highly melodious, but always thoughtful. In addition, the whole album appears as from a casting. Gauges portraying an intimate, underground thought world, but one which offers no genuine highlight, no song, which stands out clearly."

Jim Clark  www.studiomlive.com

Perhaps best known as the vocalist/lyricist of No-Man, Tim Bowness releases his debut solo disc, My Hotel Year. It¹s inevitable that My Hotel Year would sound somewhat like No-Man, due to Bowness¹ distinctive vocal delivery.
Hell, even the cover art, created by No-Man graphic designer Carl Glover, looks like something that should be gracing a release by the British duo.

But Steven Wilson, No-Man¹s instrumentalist/composer, doesn¹t appear anywhere on My Hotel Year. In his place are a cast of talented musicians, including Gramophone¹s David Picking, Henry Fool¹s Stephen Bennett, Peter Chilvers, Markus Reuter and a pair of legendary performers in Hugh Hopper of Soft Machine and ambient guru Roger Eno.

The results are superb ­ a dark, haunting disc full of wonderful musical textures reminiscent of David Sylvian and Roxy Music, not to mention Bowness¹ evocative voice. And while the disc definitely has a No-Man feel, it¹s an excellent offering in its own right.

³Last Year¹s Tattoo² starts the proceedings off in excellent fashion. Picking offers some simple though effective music while Bennett¹s hypnotic mellotron playing in the second part of the song will simply burn into your memory. And Bowness delivers a set of depressing lyrics that would make Morrissey proud.

The electronic I Once Loved You goes for a steady groove, provided by co-writer Reuter¹s touch bass and drum programming. Bowness¹ vocals are sometimes straightforward and sometimes processed on this track, giving them maximum effect.

The sparse World Afraid features only Bowness¹ singing, Picking¹s keyboards and Bennett¹s synthesizer. The song¹s music, again penned by Picking, is quite chilling.

The Me I Knew returns to electronic territory with a drum machine keeping the rhythm along with Reuter¹s touch bass. Again with instrumentation at a minimum, Chilvers¹ two-note piano part grabs the listener and won¹t let go.
This song perfectly shows why My Hotel year is such a good recording ­ it illustrates that playing less is frequently so much more effective than playing more.

Made See-Through shows the multi-talented Picking playing a free form trumpet part that floats superbly in the background while he adds the drums and another catchy piano part. Chilvers lays some strings on top of this while Bowness gives yet another gloomy vocal which is multi-tracked in spots.

The brief Hotel Year has sort of a Kid A feel to it with Bowness¹ backing vocals being cut-and-pasted in over Eno¹s harmonium and Chilvers¹ electric piano.

Despite another set of downbeat lyrics, Ian McShane has a very warm feel to it musically, due mostly to the guitar playing of Mike Bearpark and Bowness.

Bowness¹ self-penned Blackrock 2000 is yet another in the disc¹s string of highlights. Acoustic guitar dominates the number musically, but little embellishments like Bennett¹s brief synthesizer playing just grab the listener¹s attention, as does the effect used on Bowness voice during parts of the song.

Making A Mess In A Clean Place is quite a startling difference to the rest of the disc. While the other songs are quieter in nature, this track starts off with a literal bang. Hopper¹s fuzz bass dominates the song, which is in contrast to Bowness nearly whispered vocals. Frank Van Der Kooy hangs some random saxophone in the background.

The California, Norfolk String Quartet starts off Sleepwalker beautifully before Bennett¹s exquisite electric piano and mellotron playing kick in. Bowness gives perhaps his best vocal on the disc as well as some poignant lyrics, 'There¹s no-one left to tell you about the lives you could have led.'      

Brave Dreams closes out the disc with just Bowness singing and Picking¹s keyboards and occasional guitar chords. Bowness sings of someone in his dreams who will 'never turn away.'

Picking must get a special kudo for the success of My Hotel Year. In addition to his considerable instrumental skills as well co-writing four songs, he performs marvelously as the disc's primary producer. Simply said, My Hotel Years sounds great.

I highly recommend this disc. If you like Bowness work in No-Man, My Hotel Years is an absolute must. Even if you¹ve never heard of No-Man or Tim Bowness but enjoy the likes of Bryan Ferry or David Sylvian, you should check this disc out. Or if you just want to listen to some achingly beautiful music, I suggest giving this a spin. Definitely one of the better releases of 2004.

Feedback, November Edition, Issue 81

Tim Bowness - My Hotel Year, by Kev Rowland

The press release for this album captures the feeling behind Tim Bowness' debut solo album when it says, 'Calling all fans of Bowie, Sylvian, This Mortal Coil and the quintessential 4AD sound, Hammill, Walker, Drake, Tim Buckley, Eno, Marks Hollis and Eizel, Portishead, Red House Painters and existential introspection set to a smorgasbord of 21st Century beats - upbeat, downbeat, or simply a heartbeat'.

This is an album that is full of emotion and passion, fully laden with atmosphere and a very different take on the musical world.

Tim is of course well known for his work with Steven Wilson as No-Man (I have a sampler containing a song from the band when they were known as No Man Is An Island Except The Isle Of Man!).

Probably the word that best sums up this album is 'reflection' whether it is self-reflected by the listener or by the singer. This is music to drift along to, music that creates a certain ambience. One can imagine some of these songs being used in films, as there is a definite cinematic quality about them.

This definitely won't be to everyone's tastes, but when the latest shredder has taken away the wits and what was left of your ear drums, then this would be the album to chill to.

Eastern Daily Press, Event Magazine 12/11/04

Tim Bowness - My Hotel Year 4 out of 5 stars

These are exciting times for Tim Bowness, the Norwich-based artists of Burning Shed label fame and half of No-Man.

This solo set is amazingly, his first in a 15 year career. In contrast to the dreamy soundscapes of No-Man, these 11 tracks are are shorter and range from the mellow rock of forthcoming single Last Year's Tattoo to ballads like The Me I Knew (with a terrific piano hook from Alias Grace's Peter Chilvers) to the synth/industrial backing of Making A Mess In A Clean Place.

Lyrically,are in familiar Bowness territory: loss, yearning, post-relationship tristesse, for which his intimate vocals are ideally suited.

Sleepwalker is the promo single and deservedly so: a string quartet, waves of mellotron and a dreamy hookline.

Superbly crafted art-pop of distinction.

Trevor Heaton

Daniel Bristow http://www.roomthirteen.com Rated 12 out of 13

Tim Bowness is the curator of some very soul-searching and personal music. Deprecating and intense and displaying the hallmarks of other notable one-man acts like (The Fragile-era) Nine Inch Nails and Custom, he's a songsmith with a talent for subtlety, sweetness and communicating true feelings in audio vision. He paints pictures on the backs of your closed eyelids with brushstrokes of an acoustic guitar and wisps of his smooth, whispering voice. An artist proficient in the art of Making a mess in a clean place.

The album flows through its eleven tracks in twenty minutes less than an hour, but retains an unflinching interest throughout by way of being so quiet, delicate and thoughtful that you dare not miss a thing. Haunting, engrossing and whole-hearted, memorable for the very real mood it creates. The warmth and love of the sounds made in the cold and isolation of loneliness. An empty, lifeless hotel room provides a suitable epithet.

Ian McShane is certainly a highlight, it¹s not often that the actor who plays TV¹s Lovejoy is subject material for a song, but here he¹s featured as the man to turn to in times of trouble- 'Sit and watch Ian McShane.'² The 75-second title track that precedes this, with its wandering synths and resigned words adds more to the unmistakable atmosphere of Bowness' brainchild.

The Me I knew with some gorgeous piano and heavily present, slow bass is a contrast to the groove of I Once Loved You yet each tune fits so neatly alongside one another, it gives this album an absolute sense of being a whole. This is a well-rounded, finished product worthy of time and praise, effortlessly enjoyable, an estranged classic.

Meaningful words, soothing music and a common demeanor that makes relation to this record and the trials and tribulations it alludes to so easy, gives My Hotel Year a credibility that resides far above many other debut ventures. With lines like 'thinking¹s just a suckers game, leave¹s us lazy, leaves us lame' and a soft, slow, flowing, thoughtful sound, that¹s hard to find in our permanent-rush-hour society, Tim Bowness¹s first outing finds itself among the best albums of the year. A surprise gem that pops up at the end of a year of brilliant records from big players but little in the way of strong and respectable new music. The best record of it¹s kind since Custom¹s Fast. An ode to the comfort strangely found in existentialism, cynicism and numbing lethargy, not as blunt as Custom¹s 120 but rather, presented through a collection of melancholic melodies, lifting downers, sweet and sour songs that make up the small masterpiece that is My Hotel Year.

www.americana-uk.com

Tim Bowness "My Hotel Year" (One Little Indian 2004) Available : Now. Review by Matthew Bromley

8 out of 10

Remarkable debut solo album from established Bowie-esque writer. This is Tim Bowness' first solo album, which is remarkable seeing as he's been around for the last fifteen years in different guises, most notably as No-man (Collaboration with Porcupine Tree's Steven Wilson). As debut albums go, it's a very good album. When searching for comparisons, it has traces of the Red House Painters ornate landscapes, Hawksley Workman's effeminate style, but also the fractured beats of Portishead or the Dandy Warhols circa 'Welcome to the Monkey House'. But the best comparison to raise would be David Bowie, the vocal style and delivery is very similar to 'Hunky Dory' era Bowie, and Tim Bowness obviously has the ability to carry this off, and still have a lot left to craft his own particular style. The opener 'Last Year's Tattoo' is a smouldering wine soaked epic with the lyrics standing out above most of the rest of the album, such as 'Last Year's Tattoo looks so bad on you, he said if you love him, he'll love you too'. Most of the tracks on the album are based around broken beats, again a la Portishead or even Massive attack in their less introspective moments, but tracks that rely on guitars and bass in particular such as 'Blackrock 2000' are the most emotionally affecting. The simple acoustic based melodies and echoing vocals which seamlessly blend into synthesized backdrops are impressive, not taking anything away from the more avant garde tracks such as the distortion soaked 'Making a mess in a clean place' which sounds like David Bowie and The Jesus and Mary Chain. Which can only be a good thing. Thorougly enjoyable album, that grows with each listen, and should ensure him a solid fanbase if given the chance.