Blackfield
Welcome to my DNA

Six years after the start of their sophisticated pop rock project, the friendship and collaboration between the enterprising Steven Wilson and the melancholic Aviv Geffen seem stronger and more alive than ever.

This is proven by their third studio work under the name Blackfield, titled “Welcome To My DNA”, which brings more or less significant novelties both in terms of sound and themes.

The change can be sensed simply by observing the album cover: a boy depicted from behind contemplatively gazes out from the tall windows of a skyscraper at the blue sky. In the background below, scattered clouds.

 Indeed, the atmosphere throughout the listening experience is dreamy and distant, quite different from the bitter and overly disillusioned tones of previous works.

As usual, much of the work was entrusted to Geffen: most of the 11 tracks present were newly written by the Israeli artist (except for “Waving”, created by Steve), and others were revisited from works distributed in their homeland and rearranged for the occasion (“Zigota”). Aviv's efforts in creating the songs are evident, showcasing his excellent compositional skills more so than in the past, also thanks to the less intrusive presence of “Porcupine” Wilson, who limits himself to lending his vocal abilities, far superior to those of his partner.

 The varied and numerous inspirations of our duo become evident as one listens further: the music ranges from songs in perfect Blackfield style like “Rising Of The Tide” and “On The Plane” to decidedly more peculiar tracks (at least concerning past productions) like the aforementioned “Waving” or the Pink Floyd-esque “Glass House”. The most curious pieces are surely “Blood”, a ballad with a medieval flavor with surprisingly hefty guitar riffs, and “Oxygen”; the latter, produced by Trevor Horn, is a synth-pop track, very light compared to the rest of the production, and might thus make fans who are more attached to Wilson's typical elaborate melodies frown.

 However, the track that truly can evoke strong perplexity in the listener is “Go to hell”, characterized by an obsessive, sometimes repetitive chorus, in which Aviv drowns his family in invectives, with whom he has always had a difficult relationship.

One could perhaps make a case for the good Geffen, pointing out that Blackfield's work has always been characterized by visceral and emotional elements, and that ultimately the piece is, as always, excellently played.

 Overall, the final impression is more than positive.

In “Welcome to my DNA”, all the passion and sensitivity of the two artists shine through, who further improve and refine the Blackfield formula.

A work, therefore, not excessively complex and very intimate, which will delight the most ardent fans and provide a lighter (but obviously highly respected) listening experience for those who have never approached Wilson and Geffen’s works.