Mike Mettler

It's not a complete misnomer to observe the audience for King Crimson music tends to skew more towards the male side of the listening ledger—but that statement in no way means their forward-thinking music holds little or no sway with female music aficionados and audiophiles alike. In fact, far from it.

It's hard to fathom counterculture icon and multitalented musician nonpareil Frank Zappa left this mortal coil almost three full decades ago in December 1993, given the sheer range of archival and new releases that continue to arise from the vaults of his legendary Utility Muffin Research Kitchen (UMRK)—a.k.a., Zappa's onetime home studio. Fact is, many of them were personally sequenced, mixed, and/or produced by the man himself before his untimely passing at age 52.

"I like to upset people, because it means I'm doing the right thing."

And that, my friends, is Steven Wilson for you in a nutshell. The once and future king of surround sound has taken yet another giant creative leap forward with his new solo album, The Future Bites (Arts & Crafts), which, after a pandemically induced half-year deferral, is finally being released on January 29, 2021.

Gavin Harrison knows what he wants, and he knows how to get it. The critically celebrated, session-bred progressive-oriented British drummer vaulted into superstar status during his jaw-dropping eight-year stint as a member of Porcupine Tree, and he's since moved even further up the wide-acclaim foodchain thanks to all the mind-bending work he's done during his current, ongoing gigs behind the kit with both King Crimson and The Pineapple Thief. The thing is, Harrison pays little or no heed to the constant praise for his innovative drumming, nor does he spend much time ruminating over his impeccable legacy.