DEMONSPELLS SONGS TO WATCH
PORCUPINE TREE SPECIAL
Issue 83 May 2005
Scratching the surface to find the best new music when I can be bothered to do so.
Apologies for the delays, Ive been listening to a lot less metal lately though Im still constantly searching out new artists. Ive prepared a list for the next issue in the regular format and that should appear very soon.
Porcupine Tree Deadwing summary and analysis
Two and a half years have passed since the release of In Absentia, their first album to receive no support from their major label. Good news: Deadwing actually managed to chart in the US, in the lower half of the top 200, but still impressive for a prog band without the added benefit of indie/hipster credibility. Before actually getting to the music on Deadwing, I have to vent about how Lava bungled the US release of the album. First they delayed it to nearly a month after the European release, and the version sold in most stores has only about a third of the full artwork (consisting mostly of surreal collages and photography) and almost none of the lyrics. But the worst offense would have to be tacking on an unnecessary remake of Shesmovedon at the end, which sounds exactly like the original except for Mikael Akerfeldts harmonies, instead of additional songs from the sessions (two of which are discussed below). Which of course means fans looking for them will have to pay import prices and/or get additional versions of the album. Always good to know the music industry is on your side.
The album opens with the nearly ten-minute title track, an odd move for someone known to disdain the prog label, especially considering the song has a fairly random arrangement (by recent PT standards anyway) and the closest thing to a chorus is not repeated. It opens with sequenced synths that appear throughout the song and goes through numerous verses (all of which are highly memorable and the metallic parts blend perfectly with everything else), including one with stream of consciousness distorted vocals, but the major highlight has to be when the synth figure takes over again, the power chords add tension, and the band breaks into the main theme with a blistering solo from guest Adrian Belew added on top. One of their best songs ever. The self-admitted big dumb rock song Shallow follows. It follows the same soft-loud contrast as Blackest Eyes, though the focus here is on the heaviness. This one is the single in the US, which makes sense as it wouldnt sound out of place on rock radio, but the next one I think could end up taking them mainstream given the unlikely event of MTV and Clear Channel giving a shit about decent music. Lazarus is one of the most beautiful songs Ive heard in along time, possessing a gorgeous piano lead and a timeless vocal melody, and the bridge (My David dont you worry ) gives me chills every time I hear it and makes all reservations about them doing an undeniably pop song melt away. Ive taken to recommending it by saying that this is what Coldplay would sound like if they didnt suck. Halo is anchored by a sturdy Colin Edwin bassline (the rhythm section is in top form throughout) and appears to mock arrogant born-again Christians in its addictive chorus. Adrian shows up again towards the end of the track. After these three short songs comes the albums major opus, the 12-minute Arriving Somewhere But Not Here. The lyrics on this one appear to deal with thoughts upon death, and the music is appropriately somber for much of its duration, the main theme here is a lilting repeating guitar. The song is one of their most emotional and atmospheric ever, and isnt a second too long as Steven offers some great vocals and his best guitar solo of the album, and the metallic instrumental break doesnt sound out of place and is followed by a really nice solo played by Akerfeldt.
The next track is a bit strange. If the title track cast doubt on Stevens were not prog stance, this one throws it into complete confusion. Not only is it called Mellotron Scratch, he evokes the famously unrealiable mainstay of classic prog in the chorus without a hint of irony (well, it doesnt make sense in the context of the lyrics, but its hardly the oddest lyric in the catalog.) Surely thats genius. As for the song itself, its a brooding midtempo number that makes great use of vocal counterpoints, especially in the excellent multiple layered harmonies at the end (that cant all be Steven, some parts sound much too high for his range, but hes the only one credited with vocals on this track. Unless its a harmonizer.) I especially like the ghostly piano right before the coda. Open Car is another rocker in the vein of Strip The Soul, with stop-start riffs and rapid fire distorted vocals in the verses alternating with a soaring chorus that does sound perfect for driving. The Start Of Something Beautiful is another in a long line of bass-driven PT songs, which are usually excellent and this is no exception. The contrast between the verse and chorus, which includes some powerful vocals, is aided by the lyrics, which express both longing (always out of reach you are) and hostility (the songs title is followed by well think again). Along with Arriving, its his best performance vocally on the album and central to its loose concept. Richard Barbieri shines on this tracks extended instrumental break with great solos on both synth and piano. Glass Arm Shattering closes the album (well forget the bonus track exists), and as with every PT album since Signify, its one of the sadder songs on the album, though not as snail paced as Feel So Low or Stop Swimming. It has more of a warm spacey feel to it and has few lyrics, but another haunting vocal melody and loads of atmosphere, and does make a better album closer than the song they originally intended (the similarly paced but less engaging Half-Light, one of the two B-sides on the Lazarus single and some versions of the album. The other one, So-Called Friend, is as good as anything on the album and is one of their hardest rocking songs ever, the chorus is awesome and it contrasts brilliantly with the slower what kind of fool part.)
Packaging issues and label politics aside, I couldnt be more satisfied with this release. I think it balances between their progressive, melodic, and aggressive sides more successfully than In Absentia did, contains excellent playing throughout between all four members (and guests, how can I not give anything but a rave review to any album featuring members of PT, Opeth, AND King Crimson?), is emotionally compelling from start to finish, and doesnt contain any weak songs (I do like Shallow less than the others, but its by no means bad.) and affirms that Steven Wilson is an incredible songwriter. Buy or be shunned.
Concert review Porcupine Tree Irving Plaza, Manhattan 5/20/05
Like the album, Deadwing kicked off the proceedings, and its multiple transitions were pulled off perfectly in concert. The chemistry between the bands members is even more potent in concert than on their albums, and they sounded incredibly tight throughout. The remainder of the set alternated between selections from Deadwing and recent albums. Sound Of Muzak followed the opener and went over very well with the crowd: to my surprise the show was a sellout, and a large portion of the audience were either younger fans or recent converts. Maybe the buzz around PT has been growing more steadily than I thought, undoubtedly aided by the association with Opeth. The new songs all came off very well: Lazarus retained its beauty, Halo had the twice the energy of its studio counterpart (and the graphics certainly added to its aura, the bands obligatory light shows were cut back however and appeared only on a third of the songs), and Steven provided a brief explanation of the concept behind Arriving Somewhere before launching into a spirited version of said epic. Mellotron Scratch (which alternates with Something Beautiful on this tour) also sounded great, with touring member John Wesley helping to bring the songs complex harmonies out on stage. He has been a great addition to the bands live shows, at this one he played the Akerfeldt solo on Arriving and the one on Shesmovedon, and even sang lead on a rearrangement of Fadeaway, the closing track from Up The Downstair, which got introduced by Steven reminiscing about PTs origins as a one-man band: before the drum machine had a falling out over creative differences. Live favorites Hatesong (as usual it blew away the studio version, with an astounding performance from Gavin Harrison) and Even Less (the former show opener closed out the main set) sounded great, and Blackest Eyes managed to rock the house dear god, did I just write that? Another highlight was the band reaching back to Stupid Dream for a blissful version of A Smart Kid. The two encores were an excellent Shesmovedon and once again Trains was saved for last. If there was any doubt that they had connected with the audience, it was evaporated by the crowd clapping along during the acoustic solo and singing the Im tired of love part. Ill never say that songs overrated among PT fans again.
Setlist (may not be in exact order): deadwing the sound of muzak lazarus halo a smart kid arriving somewhere but not here hatesong - mellotron scratch fadeaway blackest eyes shallow even less encores: shesmovedon trains
PORCUPINE TREE SPECIAL
Issue 83 May 2005
Scratching the surface to find the best new music when I can be bothered to do so.
Apologies for the delays, Ive been listening to a lot less metal lately though Im still constantly searching out new artists. Ive prepared a list for the next issue in the regular format and that should appear very soon.
Porcupine Tree Deadwing summary and analysis
Two and a half years have passed since the release of In Absentia, their first album to receive no support from their major label. Good news: Deadwing actually managed to chart in the US, in the lower half of the top 200, but still impressive for a prog band without the added benefit of indie/hipster credibility. Before actually getting to the music on Deadwing, I have to vent about how Lava bungled the US release of the album. First they delayed it to nearly a month after the European release, and the version sold in most stores has only about a third of the full artwork (consisting mostly of surreal collages and photography) and almost none of the lyrics. But the worst offense would have to be tacking on an unnecessary remake of Shesmovedon at the end, which sounds exactly like the original except for Mikael Akerfeldts harmonies, instead of additional songs from the sessions (two of which are discussed below). Which of course means fans looking for them will have to pay import prices and/or get additional versions of the album. Always good to know the music industry is on your side.
The album opens with the nearly ten-minute title track, an odd move for someone known to disdain the prog label, especially considering the song has a fairly random arrangement (by recent PT standards anyway) and the closest thing to a chorus is not repeated. It opens with sequenced synths that appear throughout the song and goes through numerous verses (all of which are highly memorable and the metallic parts blend perfectly with everything else), including one with stream of consciousness distorted vocals, but the major highlight has to be when the synth figure takes over again, the power chords add tension, and the band breaks into the main theme with a blistering solo from guest Adrian Belew added on top. One of their best songs ever. The self-admitted big dumb rock song Shallow follows. It follows the same soft-loud contrast as Blackest Eyes, though the focus here is on the heaviness. This one is the single in the US, which makes sense as it wouldnt sound out of place on rock radio, but the next one I think could end up taking them mainstream given the unlikely event of MTV and Clear Channel giving a shit about decent music. Lazarus is one of the most beautiful songs Ive heard in along time, possessing a gorgeous piano lead and a timeless vocal melody, and the bridge (My David dont you worry ) gives me chills every time I hear it and makes all reservations about them doing an undeniably pop song melt away. Ive taken to recommending it by saying that this is what Coldplay would sound like if they didnt suck. Halo is anchored by a sturdy Colin Edwin bassline (the rhythm section is in top form throughout) and appears to mock arrogant born-again Christians in its addictive chorus. Adrian shows up again towards the end of the track. After these three short songs comes the albums major opus, the 12-minute Arriving Somewhere But Not Here. The lyrics on this one appear to deal with thoughts upon death, and the music is appropriately somber for much of its duration, the main theme here is a lilting repeating guitar. The song is one of their most emotional and atmospheric ever, and isnt a second too long as Steven offers some great vocals and his best guitar solo of the album, and the metallic instrumental break doesnt sound out of place and is followed by a really nice solo played by Akerfeldt.
The next track is a bit strange. If the title track cast doubt on Stevens were not prog stance, this one throws it into complete confusion. Not only is it called Mellotron Scratch, he evokes the famously unrealiable mainstay of classic prog in the chorus without a hint of irony (well, it doesnt make sense in the context of the lyrics, but its hardly the oddest lyric in the catalog.) Surely thats genius. As for the song itself, its a brooding midtempo number that makes great use of vocal counterpoints, especially in the excellent multiple layered harmonies at the end (that cant all be Steven, some parts sound much too high for his range, but hes the only one credited with vocals on this track. Unless its a harmonizer.) I especially like the ghostly piano right before the coda. Open Car is another rocker in the vein of Strip The Soul, with stop-start riffs and rapid fire distorted vocals in the verses alternating with a soaring chorus that does sound perfect for driving. The Start Of Something Beautiful is another in a long line of bass-driven PT songs, which are usually excellent and this is no exception. The contrast between the verse and chorus, which includes some powerful vocals, is aided by the lyrics, which express both longing (always out of reach you are) and hostility (the songs title is followed by well think again). Along with Arriving, its his best performance vocally on the album and central to its loose concept. Richard Barbieri shines on this tracks extended instrumental break with great solos on both synth and piano. Glass Arm Shattering closes the album (well forget the bonus track exists), and as with every PT album since Signify, its one of the sadder songs on the album, though not as snail paced as Feel So Low or Stop Swimming. It has more of a warm spacey feel to it and has few lyrics, but another haunting vocal melody and loads of atmosphere, and does make a better album closer than the song they originally intended (the similarly paced but less engaging Half-Light, one of the two B-sides on the Lazarus single and some versions of the album. The other one, So-Called Friend, is as good as anything on the album and is one of their hardest rocking songs ever, the chorus is awesome and it contrasts brilliantly with the slower what kind of fool part.)
Packaging issues and label politics aside, I couldnt be more satisfied with this release. I think it balances between their progressive, melodic, and aggressive sides more successfully than In Absentia did, contains excellent playing throughout between all four members (and guests, how can I not give anything but a rave review to any album featuring members of PT, Opeth, AND King Crimson?), is emotionally compelling from start to finish, and doesnt contain any weak songs (I do like Shallow less than the others, but its by no means bad.) and affirms that Steven Wilson is an incredible songwriter. Buy or be shunned.
Concert review Porcupine Tree Irving Plaza, Manhattan 5/20/05
Like the album, Deadwing kicked off the proceedings, and its multiple transitions were pulled off perfectly in concert. The chemistry between the bands members is even more potent in concert than on their albums, and they sounded incredibly tight throughout. The remainder of the set alternated between selections from Deadwing and recent albums. Sound Of Muzak followed the opener and went over very well with the crowd: to my surprise the show was a sellout, and a large portion of the audience were either younger fans or recent converts. Maybe the buzz around PT has been growing more steadily than I thought, undoubtedly aided by the association with Opeth. The new songs all came off very well: Lazarus retained its beauty, Halo had the twice the energy of its studio counterpart (and the graphics certainly added to its aura, the bands obligatory light shows were cut back however and appeared only on a third of the songs), and Steven provided a brief explanation of the concept behind Arriving Somewhere before launching into a spirited version of said epic. Mellotron Scratch (which alternates with Something Beautiful on this tour) also sounded great, with touring member John Wesley helping to bring the songs complex harmonies out on stage. He has been a great addition to the bands live shows, at this one he played the Akerfeldt solo on Arriving and the one on Shesmovedon, and even sang lead on a rearrangement of Fadeaway, the closing track from Up The Downstair, which got introduced by Steven reminiscing about PTs origins as a one-man band: before the drum machine had a falling out over creative differences. Live favorites Hatesong (as usual it blew away the studio version, with an astounding performance from Gavin Harrison) and Even Less (the former show opener closed out the main set) sounded great, and Blackest Eyes managed to rock the house dear god, did I just write that? Another highlight was the band reaching back to Stupid Dream for a blissful version of A Smart Kid. The two encores were an excellent Shesmovedon and once again Trains was saved for last. If there was any doubt that they had connected with the audience, it was evaporated by the crowd clapping along during the acoustic solo and singing the Im tired of love part. Ill never say that songs overrated among PT fans again.
Setlist (may not be in exact order): deadwing the sound of muzak lazarus halo a smart kid arriving somewhere but not here hatesong - mellotron scratch fadeaway blackest eyes shallow even less encores: shesmovedon trains
