WOC owns repair labs equipped with latest test equipment & functional panels to ensure effective repair thus supporting their 0% failure policy.
WOC supports end users to test & certify their shelf stock at a nominal fee. This eliminates the risk of end users finding parts in their shelf faulty at the time of emergency requirements.
WOC is open to the option of Exchanging defective cards with working cards. Cards supplied under this program carries a 24 month warranty.
WOC provides an conditional warranty of 24 months for supply of Speedtronic cards and 12 months for repair of Speedtronic cards. Exchanged cards carries a 24 month warrant.
Upon its release on August 18, 2017, via Caroline International, To the Bone was immediately recognized as a departure. While the album is steeped in Wilson's signature melancholic atmosphere and thought-provoking lyrics, it sonically pivots toward a more concise, melody-driven sound. Wilson described this shift explicitly, stating his ambition was to create "a song-based record," where the primary focus was on vibrant verses and catchy choruses. The album's inspiration is a veritable hall of fame of 1980s progressive pop, including Peter Gabriel's So , Kate Bush's Hounds of Love , Talk Talk's The Colour of Spring , and Tears for Fears' The Seeds of Love .
Lyrically, the album moved away from the singular, tragic narrative of Hand. Cannot. Erase. to tackle global, contemporary anxieties. It explores the post-truth era, religious fundamentalism, political polarization, and the escapism of consumer culture. It is an album about the human condition in a chaotic, digitally driven world. Track-by-Track Highlights: Where Heavy Meets Hook Steven Wilson - To The Bone -2017- -FLAC-
However, the stylistic shift did not please all corners of Wilson's fanbase. Some long-time progressive rock purists accused him of "selling out," a criticism that has followed artists from Genesis to Yes for similar evolutions. One particularly critical review on Progressive Music Planet called it "a poorly written, poorly arranged, disjointed collection" of songs, highlighting the polarizing effect of such a sharp musical pivot. Despite the debate, the album's overall consensus, as reflected on Metacritic and Album of the Year, is that its "immaculately clean production, thought-provoking lyrics, and refined aesthetic make it an excellent introduction" to Steven Wilson's genius. Upon its release on August 18, 2017, via
For audiophiles chasing the ultimate sonic fidelity—specifically through lossless FLAC (Free Lossless Audio Codec) files— To The Bone remains a masterclass in modern production. It is an album that demands to be heard without compression, revealing a dense tapestry of analog synths, soaring vocals, and sharp social commentary. The Concept: Sophisticated Pop for a Fractured World The album's inspiration is a veritable hall of
The album's sonic brilliance is no accident. Wilson produced the album alongside his co-producer and engineer, Paul Stacey, at Stacey's Strangeways studio in London between December 2016 and February 2017. In an era of laptop-produced music, Wilson and Stacey deliberately focused on "performance rather than perfection," resulting in recordings that carry an authentic, electrifying energy.
Steven Wilson is globally renowned not just as a musician, but as a remix engineer. He has remixed classic catalogs for King Crimson, Jethro Tull, Yes, Tears for Fears, and Roxy Music. Because he possesses an elite ear for spatial mixing, his own albums are meticulously engineered.
Upon its release on August 18, 2017, via Caroline International, To the Bone was immediately recognized as a departure. While the album is steeped in Wilson's signature melancholic atmosphere and thought-provoking lyrics, it sonically pivots toward a more concise, melody-driven sound. Wilson described this shift explicitly, stating his ambition was to create "a song-based record," where the primary focus was on vibrant verses and catchy choruses. The album's inspiration is a veritable hall of fame of 1980s progressive pop, including Peter Gabriel's So , Kate Bush's Hounds of Love , Talk Talk's The Colour of Spring , and Tears for Fears' The Seeds of Love .
Lyrically, the album moved away from the singular, tragic narrative of Hand. Cannot. Erase. to tackle global, contemporary anxieties. It explores the post-truth era, religious fundamentalism, political polarization, and the escapism of consumer culture. It is an album about the human condition in a chaotic, digitally driven world. Track-by-Track Highlights: Where Heavy Meets Hook
However, the stylistic shift did not please all corners of Wilson's fanbase. Some long-time progressive rock purists accused him of "selling out," a criticism that has followed artists from Genesis to Yes for similar evolutions. One particularly critical review on Progressive Music Planet called it "a poorly written, poorly arranged, disjointed collection" of songs, highlighting the polarizing effect of such a sharp musical pivot. Despite the debate, the album's overall consensus, as reflected on Metacritic and Album of the Year, is that its "immaculately clean production, thought-provoking lyrics, and refined aesthetic make it an excellent introduction" to Steven Wilson's genius.
For audiophiles chasing the ultimate sonic fidelity—specifically through lossless FLAC (Free Lossless Audio Codec) files— To The Bone remains a masterclass in modern production. It is an album that demands to be heard without compression, revealing a dense tapestry of analog synths, soaring vocals, and sharp social commentary. The Concept: Sophisticated Pop for a Fractured World
The album's sonic brilliance is no accident. Wilson produced the album alongside his co-producer and engineer, Paul Stacey, at Stacey's Strangeways studio in London between December 2016 and February 2017. In an era of laptop-produced music, Wilson and Stacey deliberately focused on "performance rather than perfection," resulting in recordings that carry an authentic, electrifying energy.
Steven Wilson is globally renowned not just as a musician, but as a remix engineer. He has remixed classic catalogs for King Crimson, Jethro Tull, Yes, Tears for Fears, and Roxy Music. Because he possesses an elite ear for spatial mixing, his own albums are meticulously engineered.
