No-Man – Ocean Song

September 1992

Gotta say, after covering a little Porcupine Tree after three No-Man posts in a row, coming back to No-Man feels like coming home, in a weird way. Ocean Song is a three-track single thingy, so this joint is gonna be a bit shorter.

The single’s structured beautifully. You have the main event right front and center, and then after that is a shortish ambient interlude, and then the B-side. So, first up, title track. Ocean Song is based off the melody of Donovan’s “Turquoise.” This is literally the only thing the two songs have in common. I listened to Ocean Song and Turquoise back-to-back and I can only faintly hear Leitch’s influence, probably because the bits from Turquoise are so radically altered from their original context (60s folk vs. 90s trip-hop) that they may as well be original to No-Man. (This is in contrast to Colours, where more of the original’s essence was retained in the transition.) The song itself is quite good; turns out that if you don’t have an ambient expanse to give your song a soul, a few acoustic guitar bits and Ben Coleman’s violin will do almost as well.

The ambient interlude, Back to the Burning Shed, is small and sweet and gets the job done. The B-side is Swirl, an eight-minute wander that is decidedly not single-worthy. Much of it proceeds in typical No-Man fashion, but this time with some decidedly Porcupine Tree touches like the guitar solo in the first half and the feedback swells accentuating the “let it all hang out” spoken word piece at the end. And actually, suddenly throwing PT in there like that was a bit jarring. 90s No-Man sounds very little like anything else Wilson’s done, and at this point I’m so used to the two bands’ sounds being so different and—more importantly—discrete, that I have to consciously remember that Wilson isn’t just there to look pretty.

But the song’s high point, once again, is the violin that kicks in at four minutes. Honestly, in a typical No-Man song the violin is doing quite a bit of the work; Ben Coleman has the superhuman ability to salvage a terrible song and kick a good No-Man song into the upper atmosphere. He is, at this stage, the glue holding No-Man’s artistic output together, and I think I’m going to sorely miss him once he’s gone.

But of course the absolutely best part of this record is the drag queen on the cover. How could it not be.

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