Porcupine Tree - Deadwing
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Free Music Notes for Deadwing
Free Music Review: A surreal supernatural ghost story
Hit: 5 Stars
Deadwing sees Porcupine Tree taking the ideas they employed on their masterpiece In Absentia a step further, while also returning to their earlier, more psychedelic period in some spots. It still retains the heaviness of In Absentia with some songs being their heaviest yet, but overall, I'd give the edge to In Absentia, as it's an album that relies less on Porcupine Tree's space rock era and more on Steven Wilson's new-found love for bands like Opeth, Tool and Radiohead.
This album is actually based on a film script written by Wilson and his friend Mike Bennion, and was described as being "a surreal supernatural ghost story". Given their amazing concerts on their Deadwing tour, with the huge video screens behind the band visualising the concept, this is definitely a darker and more morose album than its predecessor. The songs on it are characterized by despair and terror, as well as fear and paranoia. The ambitious title track will sound immediately familiar if you, like me, have played In Absentia a million times and still can't get enough of it. Yet, the inclusion of vague electronics that begin in the first second and won't let go till the end, which nearly sees the ten-minute mark, suggest Steven Wilson did seek new ways of expressing himself. Without taking too long, a growling bass figure is thrown into the mix which quickly merges with a wall of rhythm guitars and dark synth effects barraging the listener. The vocal harmonies are as brilliant as ever, always leaving enough space for more atmospheric, tranquil passages that are marked by echoic key swells, before being followed by a demented lead guitar solo courtesy of King Crimson's Adrian Belew, reflecting his demented songwriting vision. By now, the soundscapes of Deadwing have already been defined and the listener is in for a real treat.
Unlike the band's more focused and cohesive styles heard on their previous releases, such as Lightbulb Sun and Stupid Dream, Deadwing attempts at a larger scope, combining all of the strongest aspects of Porcupine Tree's earlier albums, as it also opts for heavier and more aggressive musical statements. "Shallow" is possibly the heaviest Porcupine Tree song yet, marked by rock's visceral, groove-based approach to rhythm and an explosive main riff that highlights Wilson's somewhat catchy vocals during the chorus. Much like this, "Halo" is another addition to the heavier songs on Deadwing in that it combines a big, funky bass drive with industrial effects and leads into another guest solo by Adrian Belew amidst incomprehensible spoken vocals and clever drum fills. Similarly, "Open Car" sees the band marrying lighter sounds with more guitar-friendly segments where cascading riffs blend with some of the finest vocal harmonies Wilson came up with before the song returns to its calm, peaceful start and closes with gently strummed acoustic guitars.
Opeth's Mikael Akerfeldt appears on the album, singing harmong vocals on three songs, one of them being the Blackfield-like "Lazarus", a song that encompasses both psychedelic atmospherics generated by slide guitar and poppy vocals that sound perfect over Barbieri's remarkable piano playing. The song has various sound effects at the end, which I assume are related to the script of the not-yet-filmed movie. However, Akerfeldt's presence is most noticeable on the longest track "Arriving Somewhere But Not Here", easily an instant Porcupine Tree classic. Its spacey intro builds up patiently, exciting the listener further with each passing second, as distant acoustic guitars are heard rising and taking the lead, whilst being surrounded by amazing Mellotron sounds. Akerfeldt underpins Wilson's vocals during the pre-chorus (which is a bit evocative of their fantastic duet on Opeth's "Bleak" from Blackwater Park) and the song makes a foray into a punishingly heavy mid-section with thundering guitars, bass and drums joining in order to create anguish-ridden chaos. There are two solos on this piece, the second one being played by Mikael Akerfeldt and displaying his minimalistic blues licks. The ending of this track is particularly striking.
"Mellotron Scratch" is a poignant pop tune, again reminiscent of Wilson's Blackfield project with excellent backing harmonies and a decidedly heavier second half thanks to the addition of drums and bass. This part also features a terrific vocal melody by Steven Wilson. However, "Start of Something Beautiful" may be the second best track on the album, not only because it finds the band returning to their psychedelic roots, but also because it was co-written by Gavin Harrison to let him shine in a very Floydian environment. Great cymbal work glistens over funky bass motifs and Barbieri's exquisite electronic samplings. The song quickly moves into a passage for solo piano before Barbieri also brings in some majestic synth elements creating ever-colourful melodies as Harrison busies himself with gorgeoous jazz drumming. From here on, the same melody is repeated on Wilson's guitar; just like Barbieri, Wilson starts out with acoustics and then drapes cutting lead work on it. Simply put, the compositional quality of this song is stunning.
The album also features a hidden bonus track of "Shesmovedon", that kicks in after the narcotic "Glass Arm Shattering", the only song with equal input from each member. It particularly emphasizes Barbieri's deft piano and Harrison's hypnotic cadences, however.
The artwork, except for the poor quality of paper used, is also amazing by the way, and reminds me of Radiohead's Kid A with lots of twisted imagery and interesting lyrics. After hundreds of listens, Deadwing is still going strong. What's more, it gets better each time. You should not pass on it if you're a fan of progressive music.
Free Music Review: Like Rolling Over in Bed
Hit: 5 Stars
How one progressive rock group can continue to release music that delights me each time is beyond me. This group makes it seem so effortless, like rolling over in bed. Then we have to describe each work of art for the next person following, always just a little short of being able to embody the artist vision with words; once more into the breaches, my friends.
The title song is a twisting and winding thing the moves in and out and runs ahead and falls behind, makes me want to lose my mind, but it is too late, my mind is already lost. This song is less bizarre and psychedelic than some of the Tree's other work, but it has a lot of change ups in speed and style, which make the song challenging to hear. I do hear some Tool-sounding moments, but I also catch some 70s King Crimson flavors that are intriguing and interest; a spice to this wonderful progressive stew.
The following song is a Ford F-150 in comparison to the sports car sound of the first song. "Shallow" minimizes synthesizers in favor of heavy guitar tracks and a hard-driving rock sound. However, there is an interesting keyboard inserted in the midst of the guitars to remind everyone that it may look heavy and sound heavy, but it is still the Tree.
The next song is poetically awesome, with wonderful music to match. I could listen to music like "Lazarus" forever, with a little water and food to keep me going to a blissful end. This song is wonderful, and I know I do not understand the lyrics. The music draws me in and makes me feel melancholy and longing for something and a fear of ethereal beings and times that lie beyond the veil of what I see and feel. Truly, "...moonlight is bleeding from out of..." my soul.
It is time for a changeup ("Halo"). Let the music churn you; grind and grate and wake you up! "Halo." The numerous little complex touches in this song just scream that this is anti-Britney Spears music. Give me more! Give me more! "Halo."
Then follows the song that everyone in the progressive world, or the Porcupine Tree world, or both, has been talking about, "Somewhere But Not Here." The lyrics on this wonderful song are surreal. The music varies from ethereal and contemplative to expositive, with the feeling that just around the corner is a great revelation ready to be revealed. This song is one of the best on this CD, and is also one of the Tree's best songs. Similar to the song "Gravity Eyelids," this song really explodes about halfway through, switching between a hard rock sound and progressive rock sound, until the song switches back to a slower, more cerebral interlude that includes a wonderful acoustic guitar. The song wraps up with two minutes of speedy music, as though the group was trying to slip in a few more musical points as the song was trying to end itself. This song consists of wonderfully imaginative music.
I am a huge fan of the mellotron, back to Moody Blues' heyday, and "Mellotron Scratch" took very little to be one of my personal favorites from this CD. The song is introspective in Porcupine Tree's most charming and endearing way. The vocals are poignant and pull you into the singer's melancholy. The song does have a brief moment of exuberance at the beginning of the last third of the song before settling back for a quiet close.
Back into some pound rock is "Open Car." The lyrics remind me of the Cars, but the music is crunchy and solid until the wonderful harmony just before the soaring refrain, which I love. Crank the stereo up really loud in preparation for the refrain, just watch the subwoofer. The song finishes with a nice acoustic guitar and quiet harmonies; a lament for a love that we knew was transitory even as it came to fruition. This song, the shortest on this CD, is a nice little tidbit to keep a listener from being bored.
"The Start of Something Beautiful" is another of those songs that make me long for a life where I can just lay back and listen to music. This song has variety of sound. There are ethereal portions that are solidly progressive; there are fast and hard portions that would feel at home in a mosh pit; there are jazz influenced portions that appear out of nowhere; and, as always, there are those vocals that make me wish I knew how to sing. Throughout this song counterpoint abounds, beginning with the drums that punctuate out of pace with the vocals and the backing music; another winning song in the Tree repertoire.
Porcupine Tree has a very solid and unique sound, but if ever there was a powerful influence, this song contains it, sounding similar to Pink Floyd. The music and the vocals are thoughtful and tender, caressing your brain with the fingers of mellow music. I saw someone say that this song was formulaic. So be it. This is a formula that I can listen to again and again, and never grow tired of it.
This version of this CD ends with a remake (remix?) of "Shesmovedon," a song which has some of the most mainstream moments that Porcupine Tree has ever recorded. However, make no mistake, this song is a good PT song, and is a worthy addition to this album.
I have seen others describe this album as "In Absentia II." It is not. Porcupine Tree is the same group, and there are identifiable aspects to the group's sound, but this album is as different from "In Absentia" as it was from PT's other music. More importantly, it contains excellent music and continues to belie the rumors that progressive rock is dead.
Free Music Review: 5 stars? It should get 11 stars.
Hit: 5 Stars
This is a great album from a group that has been putting out a variety of great albums for more than 10 years. And the key word there is "variety". Porcupine Tree keeps changing from album to album, but always with constantly inventive music and some lyrics worth listening to. And all the members of Porcupine Band also find time to contribute to other groups or solo projects, which cover an amazing range of musical styles.
"Deadwing", the first song, is nearly 10 minutes long and yet it is not a standard song with verses and a chorus. Musically there is a "verse part" and a "chorus part" (as well as one "instrumental solo" part), but lyrically the song doesn't repeat itself at all. The music has the hard-edge that Porcupine Tree focused on for "In Absentia", but I prefer some of the lyrical twists in here [such as: ``And yes I'd have to say I like my priv-a-cy. And did you know you're on closed-circuit TV? Smile at me!'']. It uses two different voices for different parts of the song, which is an interesting effect. The instrumental-solo part isn't just some long guitar solo, it's a mix of keyboards from Richard Barberi, with a section of guitar work, and some good pounding drum-work from Gavin Harrison. It's a 10-minute song, and at the end you wish it was longer.
"Shallow" is a harder-rocking fast-paced heavy-crunch song. It catches you with some strong guitar licks right with the first listen, while "Deadwing" takes a few listens to before you can take it all in. In that sense I'd say it's a "shallower song", but it's also very enjoyable. Again it has some good lyrical lines in it [``This city drains me -- Well maybe it's the smell of gasoline. The millions pain me -- It's easier to talk to my PC.'']. This strikes me as a fun song.
So after two hard-edged songs, the group switches to a much calmer, prettier song with "Lazarus". Anyone who was not familiar with this band might think this song is coming from a totally different band (except that you can tell it's the same singer). Long-time fans of this group are used to this kind of variety within an album. The main instrument here is some very pretty piano playing, with relatively simple drum work keeping the beat. The song ends with the sound of a train quietly rolling down the tracks. While listening to this song, the words that keep coming to mind are "pretty" and "beautiful".
The fifth song is "Arriving Somewhere But Not Here". Earlier in Porcupine Tree's career they were constantly compared to Pink Floyd, and this track shows why -- even though it doesn't sound like any particular Pink Floyd song. This is one absolutely great progressive-rock style song. It's a song to sit back and listen to in a dark room with the stereo turned up, simply because you want to soak in how good it sounds -- both musically and lyrically. It's a 12 minute song that flows from one sound to another, and back again. It has smooth quiet parts, and hard-rocking parts. A Masterpiece. Turn it up to 11. Play it again Sam.
Well, this review was getting much too long, so I skipped over "Halo", even though it's also a good song. "Mellowtron Scratch" is another great song, in more of a mellow vein. "Open Car" starts out with a fast choppy beat (both musically and lyrically), but also has a very smooth sound to it in later parts. "The Start of Something Beautiful" is yet another excellent song, with some smoother mellow parts, and some harsher-edged parts [such as: ``The more I show the way I feel, the less I find you give a damn. ... You thought it was the start of something beautiful? Well think again!'']. The album (officially) ends with "Glass Arm Shattering", which is a slow-paced ending song. So far I'd have to say it's the weakest song on the album, but the more I listen to it the more I like it. Right now I'd give it a rating of 8/10. Maybe it will continue grow on me as I listen to it more -- and I am certain I will be listening to this album many more times.
There's also a "hidden" song, which is a remake of "Shesmovedon" from their "Lightbulb Sun" album. This version is different enough from the original to be interesting, and it seems to fit well with the rest of the album. (but I'll also say that I generally hate the idea of "hidden" songs on a CD. It seems so stupid to me. So you get five minutes of silence before you hear the song? Is that really a "hidden" song, or is it just five minutes of annoying silence?).
[I see one other reviewer listed "Glass Arm Shattering" as an 11-minute song. It's really a 6-minute song followed by 5 minutes of silence to "hide" the remake of "Shesmovedon"...]
Also note that the import CD-single version of "Lazarus", includes two extra songs not included on this album. If this is the first Porcupine Tree album you get, I'd recommend following it up with the 2-CD version of "Coma Divine (live in Rome)" or their more recent "Warszawa" album (which is also live). Both of those provide you with a selection of songs from several of their other albums.
Right now the group has something they called a "micro-website" for this album at www.deadwing.com, which has some videos and song samples to give you a feel for the album and for the band. Their main web site is at www.porcupinetree.com, and if you check the "discography" section there, you'll find lyrics for all their songs, including the ones on this album.
Free Music Review: A new, refreshing treat for the ears & brain
Hit: 5 Stars
As soon as I popped the CD into the player, I was blown away. I don't care what Porcupine Tree's picky picky fans have to say about the changes in the band's sound. PT haven't gone Metalhead, even though they tend to lean towards the constant demands of the fans lately. There are 3 heavy tracks, but it doesn't change anything. If there's any reason for PT to be the way they are now, it's because of the fans. Sorry, but it's true! Personally, I find PT to be getting better with age. They haven't dropped their signature sound, as found on the "Lightbulb" or "Stupid Dream" albums.
As I've no favorite tracks on "DeadWing", there are 2 songs which appealed to me right away upon my first listen to the album (aired on a Metal radio station in the USA). These are the 2 tracks: "Lazarus" and "Arriving Somewhere, but not here".
In "Lazarus", I love Steve's soft voice, his stunning lyrics and the soft, flowing piano. Of course, the song couldn't be complete without the mellotron. It's definitely one of their best songs ever recorded!
Why I chose "Arriving..." as my 2nd choice, I love it for all the same reasons. It sounds mysterious, dreamy and like I either just stepped into or out of a dream. The Mellotron & organ arrangements are incredible.
Each track on the album prepares the listener for the next. That's what I admire about Steven's musical genius. He never bores his fans/newbie listeners. The only disappointment, regarding this album is the lack of songs. Why only 9 songs + the hidden track "Shesmovedon"? Fortunately, the songs are long enough, but I get into the music and find myself expecting more at the end. The CD is 69 minutes long, packing in over an hour of fantastic earcandy.
Tracklist:
01- DeadWing
02- Shallow
03- Lazarus
04- Halo
05- Arriving Somewhere, but not here
06- Mellotron Scratch
07- Open Car
08- Start of Something Beautiful
09- Glass Arm Shattering
10- Shesmovedon (Hidden Track)
Bonus Feature (Enhanced Part):
The Enhanced part of the CD is a CD-ROM, featuring a short video clip in .MOV format. This video features the "Making of the album". We see some quiet, busy "behind the scenes" footage in Steven's recording studio, bringing us closer to him and his music. It's a nifty little video and I'm sure you'll love it! "Shesmovedon" is re-visited with a more accoustic feel to it. One of my fave PT tracks!
Regarding the packaging...the CD is housed in a jewelcase, which will crack or break if mishandled. I was hoping the CD would be in a digipack, as most digipacks have their own character. But like all PT's stuff, a digipack version could very well venture out of the woodwork all repackaged and buff.
NOTE:
There are absolutely NO photos of the band, and there are NO lyrics in the booklet. Instead, there are a bunch of passages and strange, "Steven-esque" images and collages. It's all very artistic & different from their other lyrics/liner notes booklets.
In 1999, I discovered PT, upon listening to their "Stupid Dream" album in a music store. Since then, I've been hooked on their music, and have followed them until now. Sadly, in lots of cities & locations, PT seem to be one of the most underrated, unknown bands. I'm glad they're getting more promotion and attention...yet they should NOT go too commercial, for it will wreck them. For me, progressive rock is one of my 2 favorite genres of music. PT's material just keeps getting better. And this time around, PT have created a more complex album than with "In Absentia". Of course, they've retainedf their signature sound we've all come to know them from. "DeadWing" is an "experimental" album, as was with "Blackfield". It's musical, melodical and pleasing to the ears. All the songs are unique and leave me wanting more. Fortunately, they'll be coming to Montreal in May, so it should be interesting to see what the new tracks from the setlist will sound like live.
Like I said at the beginning of this review, there are heavy songs, but the CD is NOT a "Metal" album. The heavier songs (Deadwing, Shallow and Halo) are just as great as their earlier stuff, because of the remnants of the earlier atmosphere of PT.
As far as I'm concerned, I don't care what anyone says about the "heavy" stuff, because it's just music...not a way of life.
The album is perfect just the way it is, and my expectations were satisfied. Once again, PT has closed their album with a dramatic, slow & dark song (Glass Arm Shattering).
Like I said earlier, I'll be seeing PT live on May 16th in Montreal. I can't wait to see & hear these new songs, live & in person. I've seen them twice in Montreal for their "In Absentia" Tour. PT are a band unlike any other, and I support Steven & his crew all the way.
Right now, I'm quietly & privately anticipating what their concert will be like, considering the album is flawless. Ironically, this album was released quite soon after the "In Absentia" CD, but SW's magic has flowed just the same. It takes a long time to create a masterpiece, and sometimes it's better for an artist to wait longer between releases. Once again, everything worked out great.
If you're into PT and Progressive Rock Music, this CD is definitely for you!
Free Music Review: If you loved "In Absentia", then you should already own this
Hit: 5 Stars
If you haven't heard anything by Porcupine Tree, then this album is a perfect place to start.
Following in the large footsteps of their groundbreaking 2002 release, "In Absentia", Porcupine Tree has crafted yet another masterpiece. With "Deadwing", songwriter Stephen Wilson has mastered the art of blurring the lines between genres. The album further develops the unlikely combination of progressive metal's heavy guitar crunch with the warm passion of radio-friendly pop-rock, always retaining that vintage Porcupine Tree psychedelic and effects-driven ambience.
Combining a trance-like atmosphere with pounding guitar riffs is a daunting task if you think about it. Yet Porcupine Tree has managed to perfect a remarkably organic sound that they execute almost effortlessly. Even fellow prog-rock juggernauts Spock's Beard have distilled and one-dimensional songs that never take off with imaginative fireworks. Other bands, like the hyper-progressive Magellan cram as much musical firepower as they can into every song to the point that it makes your head ache. Stephen Wilson and the `Tree keep every element in check and make "Deadwing" come alive.
All the innovative elements of "In Absentia" are here: heavier songs, a greater focus on Wilson's guitar work and singing, and a profound emotional depth. Heavier pieces like "Shallow" and "Halo" emphasize the guitar and, surprisingly, the bass lines rather than the synthesized elements of earlier albums, giving the songs a more authentic sound and an added appeal. This convention is comforting, really. The British band's earlier recordings contained songs that were simply ambient sound with little or no apparent instrumentation.
This is not to say that the album is heavier on the whole. Although some come close, no song ever reaches the intensity of their previous album's face scratching "Wedding Nails". The overall heaviness of the album is kept slightly lower than its predecessor by certain standout tracks. The tear jerking "Lazarus" is guided by a cheery piano, accompanied by Wilson's soft, vulnerable voice. The album's hidden track, "Shesmovedon" (a remake of an earlier song), is another classic Porcupine Tree gem - acoustic guitars layering Wilson's harmonized vocals, soft-to-angry guitars, and a heartbreaking narrative ("She changes every time you look, By summer it was all gone - now she's moved on"). It's easy to compare the album's painfully melodic textures to mainstream artists Pete Yorn and Colplay, musicians who are rarely described as heavy or aggressive.
The majority of "Mellotron Scratch" is led by a repeated guitar line (very reminiscent of earlier, trance-like albums), but builds in intensity until it is a straightforward rock number, ending with a beautiful vocal arrangement. Similarly, "Glass Arm Shattering" leads you across its landscapes with a slow, repeating twang, stopping occasionally to let Wilson's delicate, almost feminine voice take the spotlight. Although not a spectacular cut, it follows the format.
But the album's truly outstanding pieces are also the longest. The title-track almost touches the 10-minute mark and exemplifies everything that makes Porcupine Tree such a noteworthy creative force. The song is framed by a repeated keyboard and a pounding bass line, joined by a reckless guitar and fast drums. Like most of the other offerings on "Deadwing", it is both catchy and technically challenging. In addition to exploring the trance-inducing textures that have characterized the band's catalogue, the song flaunts the edgy, bleak voice of Opeth's frontman Mikael Ǻkerfeldt.
And now we come to the album's magnum opus, the song everyone's talking about - the multi-dimensional "Arriving Somewhere (But Not Here)". The piece is a musical feast of every Porcupine Tree element thus far, and at 12 minutes it feels more like a generous buffet. It begins with a hypnotic keyboard/synthesizer duo, which is later joined by an ominous guitar and the dual attack of Wilson's and Ǻkerfeldt's morose voices. At the 4-minute mark, the song erupts with drums and a simple but impressive guitar solo. From here, the song builds in intensity, adding layer upon layer of guitars and keyboards, coming to a maddening halt around the 9-minute mark, where Ǻkerfeldt's guitar work shines in a soothing, bluesy solo. The song finishes brilliantly, fading with its original melody.
The cynical listener may chime in by claiming that "Deadwing" is a clone of "In Absentia" with a few bonus tricks. To be perfectly honest, it's a decently accurate description. But replicating "In Absentia", a modern masterpiece in the inscrutable arena of progressive rock, would be impossible. Porcupine Tree have taken a canonical album and explored the limits in each direction. The work is truly a five-star effort and a reassuring deposit into the constantly evolving world of progressive rock.
See also: Porcupine Tree - "In Absentia", Opeth - "Damnation"