A great album, each song reminds me because i like the blues music, it's exactly what I was looking for, an emotive music that causes a deeper feeling in the listener it's like time stood still in each guitar solo, now i wonder when is the next record.
Like another 'bandcamper' mentioned, totally blown away when I first heard this. These blues don't make you cry, they make your ears gush with sweet eargasmic nectar. Hope you don't have white carpet....
Favorite track: Like The Turquoise In A Crashing Wave.
Guitar Player Magazine "A Psychedelic Tour De Force"
Classic Rock Magazine 8/10 "Have we found the 4th King ? "
Total Guitar Magazine 4/5 "Arrestingly original vision of 21st century blues"
Blues Rock Magazine, Best of 2012, 8/10 "King is a mind blowing guitar player, take this man seriously." "The blues genres needs it's mavericks to survive, and right about now Wilson T King may be the best rule breaker out there"
Rock Guitar Daily "Blade Runner Blues" Album of the Year LIst 2012"
Music-News 5/5 "He is saying things that I have simply not heard before."
BluesRock Review 9/10 "Every genre has its movers and shakers, and Wilson T. King may be one of the most important revolutionaries of modern blues – The Last of the Analogues proves this."
Blues Matters "Probably the landmark Album of 2012"
Alternative Magazine On line 8.5/10
Hidden Track " Like Bukowski, King is breathing new life into an old form "
Metal Discovery 10/10 "here we have Hendrix's attitude reborn in a guitarist who not only transcends established expectations of blues music but is, indubitably, also set to redefine the genre's parameters and what it means to be a genuinely innovative blues player in the twenty first century"
NOW IN THE WORDS OF WTK
“This second solo album really defines my Future Blues Vibe. Like the first record there is a deliberate artistic avoidance of the cliché ridden karaoke modern blues scene.
The title refers to the oncoming Kurzweilian Singularity as we are the last to be free of bio-tech innovation, it also is an analogy for the crossroads music is at where we have computer corrected music and real music that maintains the soul and heart of the human performance.
After finishing the record I realized that some of my other influences such as Floyd / Grunge and Talk Talk’s Post Rock bled into the Future Blues Mix on this record.
The hypnotic bass outlines from the first record were developed further on such tracks as “Born Into This’ and “Like a Turquoise in A Crashing Wave” where the Miles Davis modal approach to the harmony is self-evident.
Meanwhile the tracks “Edge of Forever “, “Mountain of Fire “ and “Like a Turquoise In A Crashing Wave’ really demonstrate the ability to mix blues in with modern songwriting.
In terms of solos and tones I love the fact there is such a diverse collection from the Fuzz Tone Billy Corgan/Hendrix inspired solo on “This Mountain of Fire, the brutal solos on “Born Into This’ and the liquid style playing on “Like a Turquoise in a Crashing Wave’.
The album feel is very dark as reflected in the title but at the same time to me shot through with bursts of light while the sound is very wide and super dynamic.
Although I recorded and produced the record the help and performances of Mastering Engineer Brian Lucey (Black Keys), Wayne Proctor (Drums), the senior drummer on the European Blues Scene, and East Coast Indie Legend Josh Lattanzi (Bass) of Norah Jones/Lemon Heads/Albert Hammond Jnr on a few tracks were crucial.
In addition Dan Whitley brother of the late blues genius Chris Whitley cut some whip saw harmonica on the Pschya/Blues of “Bury Me With The Bible” and Ben Reid brought his Jazz modulations to my homage to Duane Allman on “29.10.71.”
The record is hopefully pushing the concept of Future Blues forward and showing what can be done in the blues idiom when you push the envelope and look forward instead of back.”
released October 1, 2012
Vocals, Guitar, Bass and Keys Tim Wilson
Drums Wayne Proctor
Additional Bass Josh Lattanzi
Additional Keys Ben Reid
Harmonica Dan Whitley
All Songs Tim Wilson
Produced And Recorded By Tim Wilson
Additional engineering Jim Hartley and Andy Banfield