Though he initially came to wider attention (at least in the U.K.) with No-Man, his long-running collaboration with Tim Bowness throughout the '90s, singer/guitarist Steven Wilson gained as much of a reputation for Porcupine Tree. Embracing and exploring prog rock inspirations while always keeping an ear out for newer musical connections, thus sidestepping the pointless revivalism of many of the band's peers, Porcupine Tree has created some noteworthy albums and songs over the years, continuing full-strength into the new millennium. The group itself was just Wilson at the start. Born in London in 1967, he was too young to participate in the first full flush of psychedelic and experimental rock music, but swiftly made up for lost time, turning out to be a talented musical prodigy. Having learned guitar and keyboards at a young age, he contributed to work by underground prog outfits of the early '80s such as Altamont and Karma, while continuing his own musical growth and exploration. 1987 saw the founding of both No-Man and Porcupine Tree, the latter actually starting as a joke between Wilson and a friend about a legendary lost '70s group. Elaborate discographies and other material were created à la Spinal Tap, while Wilson himself created a slew of music meant to be the band's lost recordings. In a humorous twist of fate, two tapes of this material ended up in the hands of other folks interested in hearing more from Wilson, who ended up collating the best tracks for Porcupine Tree's real debut album on Delerium Records, On the Sunday of Life, in 1992. Those songs having been something of a nostalgia exercise, Wilson aimed for a more contemporary approach on his follow-up release -- the extended single "Voyage 34," with a clear debt to ambient techno jokesters the Orb. Up the Downstair, Porcupine Tree's next full album, found Wilson coming fully into his own, creating a majestic, sweeping album that took the prog inspirations of the past fully into a realm of mysterious hush and beauty as much as full-on rock charge. Two collaborators on other projects, bassist Colin Edwin and keyboardist Richard Barbieri, the latter one of the core members of early-'80s pop art geniuses Japan, guested on the album. Later that year, the two formally joined Porcupine Tree, along with drummer Chris Maitland, establishing a four-piece lineup. The first release by the new version of the group, The Sky Moves Sideways, was actually something of a transitional affair, a number of the songs still being Wilson solo compositions and performances. A slew of fine songs stood out regardless, notably "Moonloop," but the bandmembers themselves considered the quartet's true debut to be 1996's Signify, another stunning step forward for the Porcupine Tree sound, with new highlights everywhere, including the epic blast of the title track itself. A nice nod to the past came that year with the vinyl-only Spiral Circus album, featuring selections from the first three performances of the four-piece lineup in 1993, while 1997's Coma Divine featured live recordings from the Rome stop on the Signify tour. By this time, Porcupine Tree's reputation had spread throughout Europe and elsewhere, including an increasing cult following in America. A friendly parting from Delerium led Porcupine Tree to Snapper/K-Scope, which released 1999's Stupid Dream, notable for its stronger song focus and slightly more accessible feel all around. The band's reputation and fan base continued to grow, with another album, Lightbulb Sun, taking its bow in 2000. Porcupine Tree continued to tour and plan ahead for both new recordings and reissues of older, rarer material, the first of which surfaced in May 2001, titled Recordings. Various unreleased cuts from the Stupid Dream and Lightbulb Sun sessions as well as a few B-sides were included. They spent the rest of the year putting together Stars Die: The Delerium Years '91-97, a box set that looks at their catalog from 1991 to 1997. Many more unreleased and rare tracks found their way onto the set, and the album finally came out in late autumn 2001. Drummer Chris Maitland left the band in March of 2002, but luckily, Gavin Harrison was available to take his place. A year later, In Absentia was released, followed by Warszawa and Deadwing in 2005. Up the Downstair was reissued that same year, complete with a bonus disc of the band's 1994 EP Staircase Infinities. Porcupine Tree did some sporadic touring in summer 2006 before fall dates were completed around the U.K., Europe, and the United States. Around the same time, Stupid Dream was reissued with bonus material. In 2007, the band released their ninth studio LP, a loose concept album with an underlying theme of escapism in the 21st century, aptly named Fear of a Blank Planet (not to be confused with the similarly titled Public Enemy classic). The following year, the band released the mini-album Nil Recurring, which consisted of tracks written during the recording of Fear of a Blank Planet. In 2009, the group released Incident, which was comprised of a single long song that featured many different movements, as well as a handful of shorter compositions that close the album. The double-live album, Octane Twisted, followed in 2012.
© Ned Raggett /TiVo
© Ned Raggett /TiVo
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Rock - Released February 28, 2020 | Kscope
Despite already existing for exactly 15 years, Porcupine Tree released its best album yet with In Absentia, or at least one of its most notable. Stepping away from their perhaps over-used psychedelic experimentation, the band decided to adopt a beefed up heavy/prog rock approach, combining influences from Led Zeppelin and Black Sabbath with Queensrÿche and Dream Theater. This could have been down to the change of drummers from Chris Maitland to Gavin Harrison, but the singer and main songwriter Steven Wilson was also a catalyst for this change. This stylistic shift is explained by his newfound familiarity with the book that would go on to inspire Jonas Åkerlund’s shocking film Lords of Chaos, dedicated to the somewhat extreme Scandinavian black metal scene. His outlook after that would be forever altered, and the album cover would just have to be scary, without forgetting the three main themes: serial killers, the loss of youthful innocence, and a criticism of the modern world. However In Absentia isn’t the soundtrack to a slasher film, but rather an album that tries to understand why certain individuals go through with the awful things they do. Lips Of Ashes tells the story of a guy madly in love with someone – but the feeling isn’t mutual – so he kills the object of his attention so that they belong to him forever, whereas The Creator Has a Mastertape is the story of a father who tortures his son and records it so he can listen on repeat… But while the album kicks off with a guitar-heavy introduction (Blackest Eyes), the rest is a lot more accessible, wavering between ballads and soaring melodies. Radiohead, Pink Floyd, Marillion and even U2 are just a few of the names that come to mind when listening. A long 68-minute album that ends with a beautiful piano-voice combination Collapse the Light Into the Earth. © Christian Eudeline/Qobuz
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