Lunatic Soul - II

Artist: Lunatic Soul

Album: II

Release: 2010

“… Banished to everlasting wanderings ”

Ever get the feeling you’re being watched? Like, you are walking down the sidewalk and you feel eyes on you but when you look around there’s no one to be seen? Being the superstitious person that I am, two options run through my head. One: the fairies are here to get their revenge on me for taking a stone from Newgrange over the summer. Two: Some kindly spirit is passing through the area revisiting important places in his or her life before moving on. Lunatic Souls second release amply titled II is a grand representation of the latter. II is the musical continuation of the themes Lunatic Souls mastermind and Riverside front man Mariusz Duda started back in 2008 with the first release under this name. The idea of Lunatic Soul is one of life and death. The first record centered around a man’s passing and his spirit coming to terms with this fact. So in II, the spirit is wandering and searching for a purpose. If you haven’t guessed already, this is quite the haunting little record. It’s a soft and moody listen that takes awhile to settle in your mind. For how simple the melodies and how melancholic the mood is, it’s surprising how calming this record can be. It’s like Peter Gabriel met Steven Wilson in the early 90’s and decided to record something together. Hidden in all the songs are homage’s to Porcupine Tree when they were still exploring the depths of space and Mr. Gabriel’s straight-to-the-point style lyrics of his solo works. One song specifically, Transition, is one of the best pieces of music I’ve ever heard. But even with a statement like that, it doesn’t overshadow the other songs on II. What we have here is a rare kind of inward thinking album that doesn’t get caught up in the over ambitiousness other concept albums do. It’s simple and that’s what astounds me. There’s no electric guitar here – only acoustic. This stylistic approach to the music adds so much to the albums overall mood that I can’t imagine this project with electric instruments. It may sound strange, but electric instruments would take away the pureness of the record. This motif of simplicity is also present the albums cover. Both Lunatic Soul records have the same image for their covers but one is the polar negative of the other. Death and life – black and white – yin and yang. II transports us to a world of mist and memories so vivid and inspiring that it’s a sort of tragedy when the album ends. I can only hope there will be more Lunatic Soul releases in the future. One of these days I’ll have to listen to I and II back to back and see what happens. I have a feeling whatever occurs will be magical. Here’s hoping Mr. Duda continues producing high quality work like this because Lunatic Soul is truly brilliance realized in musical form.

Porcupine Tree - Recordings

Artist: Porcupine Tree

Album: Recordings

Release: 2000

“Here’s a hymn to those that disappear”

Kscope have been on a roll this year. With the recent reissues of Nosound’s Sol29 and No-Man’s Wild Opera back in May – not to mention the upcoming Lunatic Soul’s second record and a new album from Engineers – the young label has become somewhat of a musical mecca for me. I don’t think any label has held as many artists that interest me except maybe Century Media circa 2004. And as if to place the cherry on top of this musical sundae, they have been reissuing Porcupine Tree’s back catalogue. So when I heard the long-out-of-print Recordings was being rereleased, I was positively giddy with glee. This is the one release from the band that I don’t know a whole lot about just because how obscure the songs are. It’s near impossible to find good quality samples of the songs online, (in my earlier years, I was what you may call a “pirate”), and it was sent out in a very limited quantity, and honestly I’m not paying two hundred dollars American just to complete my collection. I had given up obtaining this record. So was finally able to fulfill that dream when this lost gem arrived at my doorstep. Recordings is a collection of b-sides from the bands second, more radio-friendly phase. But you wouldn’t know it from listening to this record. Those songs that fall into the three-to-five-minute of most singles sound far too abstract for radio-play and everything else is vast and would be quite overwhelming to hear on the radio. Most of the songs featured here sound like they belong in film scores – something I would never thought I would say about the bands music. We have songs that range from simple piano melodies to long atmospheric stretches of sound reminiscent of Porcupine Tree’s earlier works. What surprises me is how well those two styles blend and flow into one another here. Returning to my film score reference earlier, I could see these songs playing in some kind of modern space documentary. Like one that you would find at a science museum of some sort. The spacey, ephemeral, style also translates to the albums cover. While it may seem like an ordinary grounded cover, there is something otherworldly about it. It’s almost as if the man is trying so hard to seem normal that it comes off as abnormal. I think this is a fitting choice that accurately reflects this phase of Porcupine Tree’s music. This is band that continues to redefine what it means to play thought provoking and complex music – even when they chose not to. Recordings might be their most interesting release and is a thoroughly enjoyable listen. Now if I can only find a copy of Transmission IV, I’ll be set!

Shearwater - The Golden Archipelago

Artist: Shearwater

Album: The Golden Archipelago

Release: 2010

“Gone from the house to the snow like a wandering light”

Rain is a very interesting phenomena. It can stir up a myriad of emotions including but not limited to sadness, tranquility, and peace. And for an Oregonian such as myself – it’s a welcome change from the dull and predictable sun. For me, rain is nature attempting to clean up all the filth we dump on our earth. But emotionally, it’s an opportunity to wander around in the recesses of my mind. I find rain storms to be a calming experience. These kind of mixed feelings are what Austin’s own Shearwater deliver to us on their latest release The Golden Archipelago. Just like the cover suggests, the listener is drifting aimlessly along in the ocean through a warm rainstorm. We are taken on a sonic journey through a chain of islands with only the wind as our guide. Sounding like if Nick Drake decided to record a post-rock album, The Golden Archipelago is quite the unique little record. Its captivating mix of 70’s folk rock and modern progressive influences make for quite an amazing listening experience. I can confidently say that I’ve never heard anything like it. The magic captured here with little more than keys, drums, and guitars is nothing short of inspiring. Add in vocalist Jonathan Meiburg’s sullen and relaxing croon to the mix and we are left with something that sounds like it doesn’t belong in this world. Yet with all the subtle and soft music featured here, Shearwater isn’t afraid to throw in the mild tempest or two just to keep the listener on their toes. Its during these sections that drummer Thor, (yep, his name is freaking Thor), Harris shines. His ability to keep me interested in a simple beat is astounding. There’s just so much heart put into his instrument. I’m reminded a bit of Neil Peart’s solo work and that’s never a bad thing. Another comparison I could make is with Eluvium’s latest album Similes. Both works are so steeped in atmosphere that it becomes almost impossible not to be taken somewhere. If one were to listen to both these records back to back, I have no doubt they would transcend this life into something far better. This album being my first experience with Shearwater, I had no idea what to expect. But by the time The Golden Archipelago ended I was lost in this world. I didn’t want it to end. In a rarity for me, I listened to the record again immediately after my first listen just to stay lost in this world Shearwater have created. And it is truly a beautiful world.

Nosound - Sol29

Artist: Nosound

Album: Sol29

Release 2005

“I remember you, watching through the window”

We’ve all had at one point in our lives where emotions have gotten the better of us. A time where we threw caution to the wind and raced blindly after our desires. Sometimes that gamble pays off and we gain what we so desperately wanted. And sometimes, we don’t. I think of the latter when I listen Nosound’s debut record, Sol29. It’s a somber, the-morning-after affair that speaks right to the emotional core of us all. Playing like if Pink Floyd collaborated with Brain Eno, Sol29 is a rather low-key record. Spacey guitars intermixed with mellow keys create an atmosphere that allows the listener to forget the troubles of their lives. Add in mainman Giancarlo Erra’s sobering, straight-from-the-diary style lyrics about lost loves and forlorn relationships and we have a record that is liable to make its listener cry. There seems to be an overarching theme lyrically relation to the idea of loss. It’s as if a person wakes up to find the person they thought would be beside them isn’t. It’s this kind of crushing brutality is portrayed in each song on this record. An empty bed. A missed encounter. A lost love. What image can better represent this kind of record then an abandoned bench. The cover(s) of both the original 2005 out of print release and the recent reissue both show an empty bench surrounded by a stark and lonely looking environment. These images could almost be the core of what we regard as being human. We sit at out park bench waiting for that much fabled chance encounter that may never come. Nosound manages to capture this sad fact of life on Sol29. And while the original cover has a much happier looking image, it still shows an empty place waiting to be filled. Personally, I prefer the reissue’s cover to the originals. In a way, it’s a bit more honest than the original and I for one appreciate that. This was a very hard record for me to listen to. It brought up a lot of memories from my younger, more ignorant years. Some of these memories I’ve never really gotten over. But with this album I was able to revisit these memories with a more mature perspective and accept the fact that everyone has done foolhardy things in the name of passion. Sol29 is easily the most honest album I’ve ever had the pleasure of experiencing. And its not one I’ll soon forget.

Oceansize - Self Preserved while the Bodies Float Up

Artist: Oceansize

Album: Self Preserved while the Bodies Float Up

Release: 2010

“This is how the wars get started”

Let it be known – with this record, I have reached a personal milestone. Drum roll please… I now own an album with a pair of breasts on the cover. Now at the time when I purchased Oceansize’s latest opus, I had no idea of this fact. It was only when I had the album in my hand that it dawned on me as to what I was looking at – and only when I flipped through the flipbook-style inlay of the record featuring a rotating naked headless manikin. The image itself is a beautiful way to showcase what the Manchester, England five-piece is aiming to achieve with Self Preserved while the Bodies Float Up. I am reminded of the classic Joy Division cover of Unknown Pleasures and the music itself only adds to this idea. Oceansize takes a bit of a departure from the mellower sound they developed on their last record and replace it with a kind of Mastodon-meets-Joy Division-esk wall of sound with some Nirvana thrown in for good measure. There’s not a single moment on Self Preserved while the Bodies Float Up that lets you relax. It’s a powerful record that can swallow you whole if you let it and aims to leave its listener guessing what will be coming next. We have shifts that vary from Robert Fripp-esk soundscapes to mind crushing guitar riffs. Not even I could have predicted the inclusion of a female vocalist on A Penny’s Weight. The guitar work on Self Preserved while the Bodies Float Up deserves a special mention as well. Oceansize have managed to capture some of the most apocalyptic doomy riffs I have ever heard. Complemented with a the sounds of an orchestral style piano and vocalist Mike Vennart’s calm yet powerful style of singing make this album something special. One gets a sense of swimming through concrete when listening to Self Preserved while the Bodies Float Up. All its sharp cutting gravel will scratch you and the tar will stain you but when all is said and done, you were glad you took the dive. But with how bloated with sound this record is, I wouldn’t recommend starting with Oceansize’s latest. If you are new to the band, take their 2007 release Frames for a spin and ease yourself into their unique style of chaos. It’s the calmer complement to this unrelenting record. But really you can’t do wrong with this band. Oceansize is one of the rising stars of the progressive world and should not be ignored.

No-Man - Wild Opera

Artist: No-Man

Album: Wild Opera

Release: 1996

“Maybe there’s more to life then writing songs, maybe not”

If you know me at all, you know that I’m a die-hard Steven Wilson fanatic. What this means is I’m willing to buy anything he graces with his presence, I mean, anything he works on. This is how I discovered No-Man, Mr. Wilsons first foray into the music scene. Pre-dating Porcupine Tree, No-Man’s history goes all the way back to 1986, (just to give you some perspective on me, almost four years before I was born), when Steven Wilson and Tim Bowness – the left and right sides of the brain respectively – met up and started the project. Their second album, Flowermouth in 1994, is one of my favorite albums. It’s sweeping soundscapes and romantic lyrics can sweep the listener off their feet. Maybe this is why I find their next album, Wild Opera, so interesting. It fails to capture what Flowermouth did. The romantic poetry has been replaced with gritty, almost grunge-sounding lyrics reminiscent of a breakup letter. And 80’s sounding hip-hop beats alongside distorted guitars have taken over the soft, calming soundscapes. Normally, this would be a bad thing and I would dismiss the band for changing their sound to suit a labels wishes. But No-Man have seemingly done the impossible and created something so outlandish that it works. Everything about Wild Opera screams of two musicians so fed up with the industry that they made the ultimate satire record to voice their intentions to remain true to themselves. The lyrics, sound, even the cover’(s) manage to convey this idea. The original ’96 cover has a very 50’s propaganda-ish feel to it that give a false feeling of accessibility to the listener. The woman is pointing at something and chuckling. I relate this to the musicians laughing at the direction the music industry is taking. To a person browsing a record store, this would look like it fit in with the Blur albums a shelf over. This theme continues on the recent reissue, (the copy I acquired.) The people are gazing out over a very bloated-looking lake and a wall of stone. The lake is representative of how oversaturated and bloated musicians sound’s have become and the walls are the labels leering almost menacingly over them. It dosnt look like the family – Wilson & Bowness – want to go swimming here. As for the lyrics, I found myself laughing more than once while listening to the album. I mean, how could you not with lyrics like “Not even housewives hooked on heroin can understand the awful mess I’m in”. Tim’s lyrics reek of intentional irony. And finally the music itself. Wild Opera was created during a time when musicians were moving away from the idea of solos and the grunge movement happening at the time spearheaded this idea. On a funny side note, one of the songs is called “My revenge on Seattle”… think of that what you will. Wilson mocks this notion by combining two styles that are completely at end with each other, hip-hop and rock. But it’s because of this decision that Wild Opera sounds a unique as it does. This album really is the black sheep of No-Man’s discography. The definitive anti-rock album. I love it.

Eluvium - Similes

Artist: Eluvium

Album: Similes

Release: 2010

“Appended to the breeze, talking amongst the trees”

Portland is an interesting city. The majority of the time it’s raining yet the city’s inhabitants are some of the friendliest people you can ever meet. Normally those two things could never coexist. But Portlanders can often be seen smiling while they walk down Burnside or Hawthorne in the rain. This is my ideal listening experience for Eluviums new release Similes. I find it appropriate not only because Matthew Cooper, aka Eluvium, resides in the rose city, but because all of Eluviums music just seems to make more sense on a rainy day. His music manages to both capture the beauty of the city and subdue the listener into a rather submissive state. One feels at ease like you’re floating above the clouds, above the storms below. It’s as though the paintings of life around us are melting away before our eyes and what we are left with is the primal beauty of our natural world. One can't help but smile while experiencing this album. Musically, this is Eluviums most groundbreaking release yet. The soft piano keys create an atmosphere of relaxation and no sound ever overstays its welcome. The soundscapes captured here are an ever rotating door of audible clarity. As one sound exits, another enters to take its place. Like players on a stage, each instrument plays its part to perfection until the final curtain falls. But this is not the biggest thing about Similes. The most shocking part of this recording is the fact that it has lyrics! Until now, all five of his records have been entirely instrumental with the occasional sound clip. It’s natural for musicians to try and expand their sound in interesting ways. So adding lyrics into the mix was the next logical step for Eluvium. I view this decision in the same way I view Steven Wilson’s choices lyrically on Insurgentes. The lyrics are meant to complement the music, not the other way around. So the addition of lyrics helps the record by adding a whole new level of sound that could never exist on his previous releases. It’s not often I come across music that can take my breath away. But with Similes, Mr. Eluvium has created something magical. I can’t wait till the next rainy day!

Gorillaz - Plastic Beach

Artist: Gorillaz

Album: Plastic Beach

Release: 2010

“Welcome to the World of the Plastic Beach”

I loved Gorillaz. They were the first band I got “into”. Their self titled 2001 debut was the first album I ever bought. It was a brilliant idea. A real life cartoon band lead by a Satanist for a bassist, a possessed hip-hop historian as a drummer, a ten year old Chinese girl as a guitarist, and a blue haired pretty-boy with no eyes as lead singer. These oddballs were the center of my pre-teen life. Then they disappeared off the map, and I forgot about them. Then in 2005, the band returned with Demon Days and so did my interest. And now, five years later, Gorillaz give us their final (?) release Plastic Beach and I’m not sure about it. I used to be really into Hip-Hop and rap. Even though I’ve moved onto better things I still find both of their previous records to be a refreshing change of pace. But maybe it’s been too long… I can’t seem to wrap my head around this eccentric little record. This really isn’t a new Gorillaz record but rather a Gorillaz fronted collaboration album. There’s soooooooooo many people on this record that the actual band get lost in the mix. It doesn’t have the easy-listenable aesthetic the first album had and it doesn’t have the apocalyptic soundtrack feel to it that Demon Days had. I found that throughout all three of the bands releases, the tracks where singer 2-D croons into the mike are my favorites, but those are few and far between on Plastic Beach. I’m not saying that the guests tracks aren’t interesting – it’s actually quite the contrary. I think Mos Def’s contributions to this record are some of the most enjoyable hip-hop I’ve ever heard. Also, Snoop Dogg’s track is a beautiful hybrid of 70’s synth and old school rap. But the biggest surprise on Plastic Beach is inclusion of unknown gem by the name of Little Dragon. The vocalist provides a nice calming change to the rest of the albums over-produced, lets-hit-every-button-on-the-sound-board style of rap. I get the feeling this is a really deep album. I would love to get to the core of this record some day but the music is just so thick that the overall message doesn’t ring as loud as it should be. But overall, the impression Plastic Beach gives me is this – this is a pop record with pop sensibilities. While this is a concept album deserving of a full listen to understand and let the music sink in, that’s just not going to happen. It will be promoted like any other run-of-the-mill forgettable record and all the overexposure will ultimately hurt and taint the album as a whole. But what really bothers me is there’s a chance that the videos from this album have a possibility to be aired before or after MTV’s newest artist-of-the-moment. As a result I fear that Plastic Beach will be completely forgotten like all the other cannon fodder MTV airs. But I do have hope… Maybe one day Plastic Beach will speak to me the same way Gorillaz other releases do. But until then I’m content with what could be Gorillaz last release. Maybe I’m too old for cartoons…

(I have a feeling that I will feel completely different about this record in a year’s time. Setting alarm clock… NOW)

Project 2 is in the bag!... Finally + Whats next

Its funny what life can do to you in 4 months. I had originally intended to have this project done by April at the latest, but as somethings go, it just wasn't meant to be. I'll try harder to stick to a set schedule and post more frequently.
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It's been fun analyzing Porcupine Tree's music. There's just so much there. Throughout this whole experience I rediscovered a few albums that I hadn't listened to in years. It was like bumping into an old friend. Very satisfying.
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Some good news that came out of all this is I have a few other things I've written on music I've received. So I can mentally recharge my batteries while keeping to the schedule I mentioned above. Looking over them I must say there is quite a variety of genres there.
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Another project, (#4 for those of you keeping track), will be an ongoing thing with no definite end in sight. The sheer amount of content related to what I'm planning on doing only confirms that. I'll say this though, I guarantee you have never heard anything like what project 4 will sound like.
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And project 3, which is a list of my personal favorite albums of all time, will commence when I feel like starting that. I'll estimate this one will last about three months or so = AKA breathing room. More on that soon...
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Anyway, I hope you have been finding new horizons in new music. I know I have.

Best wishes,
- Sean

Coma Divine: The Music of Porcupine Tree - Part X

The Incident – 2009

“When a car crash gets you off, you’ve lost your grip…“

You may find this hard to believe but it’s been 20 years since Steven Wilson began recording music under the Porcupine Tree name. What began as a homemade experiment in what is progressive has morphed into one of the biggest names in modern music. This band has survived the rise and fall of grunge as well as a change of thinking toward digital media. Porcupine Tree’s tenth album The Incident is a perfect way for the band to celebrate the sound they have been developing during my entire lifetime. Now instead of going into my usual thought process regarding music – I did that for this album already back in January – I thought I’d try to retrospectively encapsulate all the listening experiences I’ve had with The Incident.
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The Incident isn’t my favorite Porcupine Tree album. My opinions of this record have not changed since I last wrote about it, (see "Music of 2009 - Part IX"), but I’ve found that the way I listen to The Incident has changed drastically. This is an album I always listen to in the car during my long drives from Ashland up to Portland and back. Now I interpret this in a few different ways. Firstly, it’s a way to listen to the whole album without feeling that compensatory need to listen to something else. It grounds me and forces me to experience the album as Mr. Wilson intended it to be. Unfortunately, the sound quality of a burnt cd driving along I-5 isn't the best, which brings me to my second point. There have always been softer sounds barely audible on Porcupine Tree cds. And for me who focuses a lot on finding and enjoying these softer moments, it’s an essential part of the listening experience. For me, it’s impossible to live these moments when you have to damage your eardrums just to hear them. The Incident and road trips don’t mix well, (hell, one of the movements is about passing by a car crash. Needless to say its a little unnerving) This is the kind of album you need to listen to at home through quality speakers that can produce these subtle sounds without causing you irreversible injury. No exceptions. I have realized that the way I listen to this record is wrong. But that still doesn’t keep me from enjoying it on long drives at night, (you know, in a weird way, this album sorta feels right in this context, or maybe that’s just one big contradiction…)

Coma Divine: The Music of Porcupine Tree - Part IX

Fear of a Blank Planet – 2007

“Stoned in the mall the kids play. And in this way they wish away each day “

How could it come to this? That is the question I ask myself when I’m listening to this apocalyptic opus. But strangely, a quote from a rather famous 80’s movie springs to mind as this album plays, “I weep for the future”. On Fear of a Blank Planet, Porcupine Tree has managed to capture the decay of our youth culture onto a single disc. Quite the feat if you ask me. Little did I know when I bought this record that Mr. Wilson was talking about me. I have an iPod, but I don’t let this fact hinder my search for rare CD’s. In a weird way, it took this album to wake me up to what I was becoming at that age, (17). iPod’s are just one of the myriad of topics Fear of a Blank Planet addresses. Prescription drugs, Xbox, the internet, and the seemingly abandonment of their parents are a big lyrical component to this album. This record is about the decay of our society at its very core and how the youth of the world are adapting to that decay. I get a sense that Steven and co. have a very cynical view of the world. They have expressed this anger and resentment in Fear of a Blank Planet. These feelings are expressed on the records cover. A blank slate of a face illuminated by the unnatural glow of technology. A lovely photo Lasse, good work! Right away you can tell this is going to hit you and hit you hard. It sweeps through you and wears you out. Yet after its gone you want it back. To a new listener, this album may overpower them Porcupine Tree have crammed nearly a whole societies existence onto this album. I don’t think I need to go on praising it. The music speaks for itself. The riffs captured here are MUCH heavier then Deadwing and the mood is even darker then In Absentia. And while some tracks tone down the music and introduce acoustics, (now a Porcupine Tree mainstay), the songs still carry that end-of-days vibe with them. One gets a sense that this is the album Porcupine Tree was born to create. It’s certainly played a major part in their current popularity. I think Fear of a Blank Planet will stand right up on that pedestal with In Absentia as the band’s signature albums. One thing’s for sure though - When the end of the world finally begins, I’ll have this album on repeat.

Coma Divine: The Music of Porcupine Tree - Part VIII

Deadwing-2005

“Did you ever imagine the last thing you'd hear as you're fading out was a song?”

Deadwing was the very first Porcupine Tree album I owned. And to my primitive 15 year old brain, this album was beyond my comprehension. I was really into Opeth at the time and I couldn’t see what the big deal was over this band. But over the next year, this album would grow on me in ways I never thought a piece of music could. This is Porcupine Trees heaviest record to date. Deadwing continues down the path they started on with In Absentia and once again, Mr. Wilson weaves a lovely tapestry of acoustics and metal into a truly beautiful album. It also marks yet another entry into the bands collection of concept albums. Deadwing is a ghost story. One gets a sense of loss and a longing to live again. Although it’s a VERY loose concept, the music still manages to convey a very evil sound. Steven seems to have an affection of this darker kind of music – something I appreciate. But Deadwing isn’t all dark and brooding. The albums third track “Lazarus” has, much like “Trains”, become a mainstay in the bands live sets. It’s a mellow and calming acoustic track in that sounds like it could have been a b-side from Stupid Dream. This is also another record where keyboards are more prevalent. Richards soundscapes once again lull us into a dream land only to be shattered by Stevens crushing guitar solos, (Opeth’s Mikael Akerfeldt also provides a very Opeth-esk solo on “Arriving Somewhere… But Not Here”.) But this album doesn’t quite hit that same place their other albums do for me. If I had to rank all of Porcupine Tree’s records, Deadwing would probably be near the bottom. It’s not that the music is sub-par. Actually its quite the contrary, some songs on this album are some of the best compositions I’ve ever heard. The complexity Porcupine Tree is known for is ever present and never lets the listener feel overwhelmed. But Deadwing occupies the same waters that On The Sunday Of Life – the bands first release – does. It’s taking a bit too much influence from the music of today as opposed to forging and re-inventing modern music. I’m sad to say that I don’t listen to Deadwing as much as I should. But it’s still a damn good record and helped propel Porcupine Tree up to the pedestal they are on today. In a way, I rediscovered Deadwing because of this blog and I’m glad I did. This is the album that introduced me to progressive music and for that it will always hold a special place in my collection.

Coma Divine: The Music of Porcupine Tree - Part VII

In Absentia – 2002

“It’s so erotic when you’re makeup runs…”

After the spit-fire release of Lightbulb Sun, several key things happened to the Porcupine Tree camp. One: Drummer Chris Maitland leaves the band, Two: New drummer Gavin Harrison joins as a session drummer, Three: Steven Wilson produces Opeth’s Blackwater Park in 2001. And in 2002 all these events combined to create the masterwork that is In Absentia. From start to finish, every composition is flawless. It also appears to be a fan favorite judging from the reviews all over the internet. This is the album that introduced the world to Porcupine Tree and helped make them the successes they are today. But enough fanboy-ism, down to the nitty-gritty… In 2001 Mr. Wilson got a taste for metal when he worked with Opeth. So it shouldn’t be surprising when some of his work with Opeth transferred into Porcupine Tree’s next album. In Absentia is a damn heavy record. Right away the listener is greeted with a jaw-dropingly monstrous riff that can be heard on no other PT release. It’s like the last 10 years of the band never happened and this new group has immerged seemingly out of nowhere with this incredible debut. Everything previous to In Absentia sounds like it came from a completely different band. But we are still talking about Porcupine Tree here. There are still the soundscapes provided by Richard and Gavin’s style of drumming fits in surprisingly well with the bands new sound. This is a dark and sensual album. The casual listener is quickly warned off by the albums cover provided by Dutch photographer Lasse Hoile, (it’s his face too), and would be the beginning of a partnership that continues to this day. For those that weren’t scared off, they are rewarded with some of the best songwriting I have ever heard. Mr. Wilson has really outdone himself this time. Each song is a little slice of horror leading to a rather unhappy ending. It may be hard to believe but this album tells a story. A dark little small-town style secret that most people simply pretend isn’t there. But there are moments of beauty on In Absentia. The second song Trains has become the bands signature song and is a loving rendition of the nostalgia of days long past. It’s defiantly one of the brighter moments of the album. It should also be noted that this is the first appearance of singer-songwriter John Wesly who provides his soulful voice and guitar work to the album, (another collaboration that continues.) So it seems that the new century brought a whole new sound to Porcupine Tree. This marks the beginning of the bands third era and it has a very sunny outlook, (actually its more overcast.) With In Absentia, the band created a monument to modern music that will probably end up becoming their essential album. This is hands down my favorite Porcupine Tree record and I can’t see myself getting tired of this album anytime soon.

Coma Divine: The Music of Porcupine Tree - Part VI

Lightbulb Sun – 2000

“And how you would paint while I wrote my songs”

I don’t know why but whenever I list out Porcupine Tree’s albums in my head I always manage to skip this one. I quickly realize my mistake but Lightbulb Sun occupies a weird place in my mind. Essentially it’s a continuation of the ideas that the band started exploring on Stupid Dream but it’s as if those ideas have been collapsed into even smaller bits. Released less then a year after the last record, Lightbulb Sun takes the process started on Stupid Dream and pushes them to the absolute limits. The bite-sized songs collected here are probably the closest thing fans will ever get to a full on Porcupine Tree acoustic album, (2008’s We Lost the Skyline doesn’t count – it’s a live album.) While the lack of any complex instrumentation may turn away some fans, I find the album to be rather relaxing. Often I listen to Lightbulb Sun as I’m falling asleep. It’s has a whimsical atmosphere and has an uncanny ability to calm my mind into slumber. Honestly, this is probably one of my least favorite Porcupine Tree records. There’s not a whole lot to say here. As always the musicianship is top notch. Lightbulb Sun is a prime example of how these musicians can strip away all the complexity of the previous releases and still maintain those magical feelings that have been ever present since On the Sunday of Life. Despite the simplicity, this album still manages to provide a full and satisfying listen. I think this speaks volumes about the member’s commitment to the band. They are willing to abandon all the tried and true formulas that have elevated the band to the status among fans they have achieved. They threw caution to the wind and created the album they wanted to create. This is why Porcupine Tree has my respect. In an age where sales rule musician’s lives, Wilson and company have distanced themselves from all those ideals and work as a kind-of independent unit. They manage to create beautiful music in a rather oppressive environment and at the end of the day that’s what people will remember you for. But Porcupine Tree isn’t known for sticking with formulas. This is why their next release would be their biggest, (and most successful), release in the bands career.

Coma Divine: The Music of Porcupine Tree - Part V

Stupid Dream – 1999

“Maybe it’s time to stop swimming”

After a three year gap Porcupine Tree return with a completely different sound. While this may not be surprising to long time fans of the band, Stupid Dream was the start of a new calmer style of music from the quartet. What we have here is Porcupine Tree in its barest form – dare I say, radio-friendly? This is quite the controversial record. Any hints of the previous four albums have been ditched in favor of a more acoustic and lyrically driven record. Sort of a Nick Drake influenced sound. Very singer-songwriter sounding. And while the music is the foremost subject on my mind, I find I’m focusing quite a bit of thought on the albums cover(s). The original cover is taken in what I assume is a CD printing factory. This is a delightful little bit of foreshadowing of what is to come on the record. That feeling of cold cynicism of music companies and the ideals at the industries very core. Quantity vs quality. Cashing in on the next big names that will disappear in a month. And while the 2006 reissue still features the man and the CD, something of that original emotionless environment is lost to us. Needless to say I much prefer the original cover art to the reissue.
As I stated earlier, this is a different kind of Porcupine Tree. For one, all the songs are surprisingly short and succinct. One never feels that overwhelming feeling that can be felt on all their other records. But I don’t view this as a band thing. I predominantly listen to Stupid Dream when I’m doing any kind of school work. It manages to capture my attention while still allowing me to concentrate on what I’m doing, (something I would never try with The Sky Moves Sideways.) Nothing is overdone and everything has a much more rehearsed and less improvisational feel to it. Again, not necessarily a bad thing. This is the sound of a band evolving and branching out and exploring new sounds. Too often musicians create albums that sound like a copy of another band in hopes of “widening their fan base”. Porcupine Tree manages, amazingly, to avoid that bullet and incorporate much more of their influences into the music without it becoming insignificant. This album is also interesting because it spawned the bands first music video. And it’s just a weird as I would expect from Wilson and co. I’m not sure how much air-time the music on Stupid dream received in 1999 but I think it introduced the band to a whole new audience, (and re-introduced the musicians to their existing fans.) This for all intensive purposes could be Porcupine Tree's most accessibly recording. I have introduced several of my friends to the band through this record. It’s by far the easiest album to wrap your head around and does so without making its listener feel in the presence of something greater then you can comprehend. After all, these people are only human.

Coma Divine: The Music of Porcupine Tree - Part IV

Signify – 1996

“At the age of 16 I grew out of hope. I regarded the cosmos through a circle of rope“

How do you top something as break taking as The Sky Moves Sideways? You don’t. You do something completely different. And thus we have Signify, Porcupine Tree’s swan song to their psychedelic roots. By this time, Steven and co. had matured into a confident four-some of musical talent. So it’s surprising to me to hear such a change of moods between records released just one year apart. Whereas TSMS was a calm and relaxing album, Signify is it’s polar opposite. Angry and dark instrumentals run throughout the record and give the listener a sense of overwhelming unease. But something that stands out about this record is its cover. Not since their first record has the band provided such a striking cover to visually showcase their music. I would also go as far as to say that Signify is a concept album about religion. Several song titles and lyrics reference religious practices and routines and come off as being rather critical of ideology. We see a woman held in the air by rope tied to all her limbs. I assume that’s a reference to being pulled at and tugged by invisible ideals that can run people’s lives. But that’s just my opinion… Anyway… The standout musician on here is drummer Chris Maitland. With Signify he show us how diverse a drummer he really is. It’s the drums that drive the music forward unlike all of Porcupine Tree’s previous records. But all of the music stand out as being a notch above what they were doing just one year before. Richards brooding keyboards add a thick fog-like atmosphere and gives the listener a sense of being lost at sea. This is the first record where both Steven’s guitar and Richard’s key’s flow so steadily with each other and give us a sound that is present in Porcupine Tree’s newer albums. We can never really tell where the album is taking us, but each unexpected tangent is welcome. Sound bites are once again littered throughout the record and provide the same fever dream like state that was present on On the Sunday of Life. But this time they aren’t as friendly. Each is a little bit of insanity thrown in to keep the listener guessing. They provide a key component to the dark and brooding atmosphere on here. Overall, Signify is Porcupine Tree’s darkest album and depending on what time of day you listen, it could calm you into an uneasy restlessness or scare the ever loving life out of you. One is almost reminded of a Lovecraftian story while experiencing this album. It’s a shame that this was to be the bands final psychedelic recording, but after hearing what was to come, I think they made the right decision.

Coma Divine: The Music of Porcupine Tree - Part III

The Sky Moves Sideways – 1995

“We lost the skyline. We’ve stepped right off the map”

Before I begin, I would like to recall probably my favorite experience with this record. It was back in the spring of 2007 and I couldn’t sleep. It was sometime after midnight and I couldn’t calm down enough to fall asleep. So I decided to get in my hot tub. I grabbed a random disc off my spool of CD’s and went outside. It was a cloudless night and all the stars were out. I put the CD into the tubs player. Then I got in a relaxed. Needless to say, I had no idea that this combination of circumstances would lead to the trip that followed. Anyway… If I had to make a list of my favorite Porcupine Tree records, (like choosing between children), The Sky Moves Sideways would probably be at the number 2 spot. It’s defiantly my favorite of the bands psychedelic-ear recordings. It has a strange calmness to it that are absent in the bands previous two records. I think that’s why I enjoy it so much. The otherworldly sounds captured here are nothing short of breathtaking. As the title would suggest, this album has the same influences that have been present throughout the bands existence. The spacey keyboards, the trippy guitar loops, the haunting vocals. But there’s something different on here – three more band members. The Sky Moves Sideways was Porcupine Tree’s transitional album from a one-man-project to a full band. And as a result all the instruments sound much more flushed out sound wise. Everything has a fuller and more complete feel to it that couldn’t have existed if Steven had continued the band by himself. Thus we meet keyboardist Richard Barbieri, drummer Chris Maitland, and bassist Colin Edwin. I would say that the addition of Richard was the biggest change to the band because with Richard now on keyboards, Steven was now free to focus more energy on his guitar work. This is probably the biggest instrumental improvement I have ever heard from a musician, (and only two years after Up the Downstair!) But it’s the lyrics that really show us what Porcupine Tree can do. I wouldn’t label this record as a concept album per say, but it does, at least for me, have a reoccurring theme – the passage of time. One has a sense of drifting through a care-free universe. It’s like your mind is gently pulled away from your body by some higher power and takes you on a journey that seems to last a lifetime. Seasons pass before you and you care not. But as the album finally does come to an end, you are left feeling like you gained something from the experience. I felt wiser and strangely at peace after my little late-night hot tub run, and I have a feeling that this album will continue to be a major influence over me as a person in the years to come.

Coma Divine: The Music of Porcupine Tree - Part II

Up the Downstair – 1993

“What you are listening to are musicians, making music under the influence of a mind-altering chemical called…”

There is something very special about nostalgia. That desire for something that only existed during a unique place and time that you were not a part of. Porcupine Tree’s second release, Up the Downstair, is the antithesis of nostalgia in all its forms because it sums up what it means to be a progressive musician. Apples to oranges, this record could be seen as the bands first “serious” album. Gone are the acid trip-esk voice overs from the 60’s, (well most of them), and what we are left with is a collection of tracks that ooze of a more civilized Porcupine Tree. Released just two years after the black sheep that was On the Sunday of Life, Up the Downstair seemingly picks up where the previous record left off. Or so it would seem… Beginning with the charismatic little pre-recorded intro, we get the feeling that this is going to be more of the same. But what immediately follows is a quick and dirty cutaway to an almost punkishly guitar and keyboard loop. And thus we begin down a road full of a mix-mash of genres and emotions. The long keyboard passages calm us into an attentive lull only to be awakened by extended guitar solos that could be from Pink Floyds Meddle. There are so many little sound bites scattered throughout Up the Downstair that if you blink you just might miss one. This is something I love about this release. The amount of attention required to fully appreciate this record. Most music I hear these days tend to over-simplify their sound to appeal to the unwashed masses. But not Porcupine Tree. During a time when Nirvana was leading fans away from progression, Steven Wilson could be found experimenting with a guitar in ways nobody at the time was. But Up the Downstair isn’t a predictable record by any means; it still has a groove interlaced in the songs that could almost be described as “dance music”. But don’t let that fool you. And while this record has its eccentric moments, almost nowhere in the recordings can be found any trace of the previous record. The chaos is much more controlled here and I for one appreciate that. The whole album flows with a more fluid contentiousness to it. Even the instruments sounds have improved. From Eloy-esk space influenced keyboards and Tangerine Dream guitar work, the sound has a much more memorable and frankly enjoyable vibe to it. Up the Downstair was the last Porcupine Tree made by Steven alone and it stands out as the most willing to throw aside previous ideas of music and create something entirely new.

Coma Divine: The Music of Porcupine Tree - Part I

On the Sunday of Life - 1991

“Linton Samuel Dawson lives in outer space. He hangs around with a circus troupe outside the human race”

As far as debut records go, Porcupine Tree’s is probably the most misleading one I’ve ever heard. Honestly, I was not prepared for what this album contains. This was the second Porcupine Tree record I ever heard right after I had discovered them with their ’05 release Deadwing. What a mistake that was! If I had someone listen to both records back to back I doubt they would assume they were made by the same musician. So, from 1991, I give you On the Sunday of Life – the soundtrack to your fever dreams. We start with the first thing you will see on the record, the cover. A man diving into a sea of black. Not a lot there but when the music begins, that cover takes on a whole new meaning. That man in you and the black ocean is your mind. On the Sunday of Life is a trip, and a harsh one at that. I would hate to drop acid and have this record playing in the background. This album will smack you across the face if you don’t know what you’re getting yourself into. It’s a chaotic mix of psychedelic keyboard loops and guitar work in contrast to angry sounding drums and warped vocals. We begin with an eerie and foreboding instrumental and then immediately shifts to an acid influenced pop song. The lyrics are just as sporadic. Happy-go-lucky passages can transition to hellish apocalyptic warnings, (I’m not kidding – Listen to Space Transmission and try not to shiver). This album would fit in nicely with the experimental rock scene from the early 60’s. It has a positive Captain Beefheart and early Zappa vibe to it and relishes in it. I mean with song titles like Message from a Self-Destructive Turnip and No Luck with Rabbits, how could you take the music seriously? But like an old friend used to tell me, “It’s better to overshoot than undershoot”. On the Sunday of Life provided Mr. Wilson with the floor plans to what would become modern day Porcupine Tree. It’s by no means my favorite release by this band but this is THE eccentric little keystone in Porcupine Tree’s discography.

Coma Divine: The Music of Porcupine Tree

This has turned out to be quite the little undertaking. So here we begin my thoughts on "the best band ever", Porcupine Tree. Looking back, I now realize that most of these entry's were written around 3am on various nights, so... I'll just leave it at that.

Keep in mind that I love everything about this band so take what is written with a grain of salt, or several. Anyway, onto the epic-ness that is Porcupine Tree starting 2 years after I was born...

Shadow Gallery - Digital Ghosts

Artist: Shadow Gallery

Album: Digital Ghosts

Release: 2009

“Echoes of this ghost song fade away…”

So here’s a band that I had never listened to before this record. I had heard previous vocalist Mike Baker when he was featured on Ayreon’s The Human Equation album back in 2004, (also my first exposure to Ayreon). I liked the guys voice – it had a nice Alice Cooper-esk vibe about it. And that was it. A few years pass and I hear about this band again. In 2008 Mike Baker passed away much to the dismay of prog heads everywhere. Then I heard news that the band was recording a new album. And so here’s Digital Ghosts, Shadow Gallery’s first record without Mike on vocals. Maybe it’s because I hadn’t listened to their previous recordings, but I think this is a great tribute to their fallen comrade. This is fairly stream-lined progressive metal. Constantly changing rhythms, guitarist vs. keyboardist battles (I guess it isn’t only limited to power metal), and varying vocal harmonies are the bulk of Digital Ghosts. There’s nothing wrong with this but it’s a bit predictable. The progressive metal scene prides itself on complexity and this record tends to hang around in the average area of the genre. This also makes it hard to find any comparable bands to help flush out my thoughts. The closest I can come up with is a heaver The Tangent and early Dream Theater, (I had to make myself spell theatre incorrectly), but even then that’s only during a few songs. Speaking of songs, they all have an uplifting quality about them that is a nice change of pace for me musically. Thinking back I can’t recall any songs that really stood out above the rest but on this album in works out for the best. Each consecutive listen is like rediscovering the songs anew. That is something that is rare in music these days. But something I focused on while listening to the record was its title. Digital Ghosts – what a perfect name for these recordings. Mike’s presence is defiantly felt here. Mainly in the over-the-top drum passages and guitar solos. In conclusion, I didn’t really know what to expect from Shadow Gallery. But at the end of the day, they’ve gained a fan – or at least a new listener.

Indukti - S.U.S.A.R.

Artist: Indukti

Album: S.U.S.A.R.

Release: 2004

“All my hopes, they just can’t unfold”

This one’s a deep listen… These Polish upstarts are pushing at the boundaries of progressive metal. Where some bands on their debut’s tend to stuck to the simpler formulas of their chosen genre, Indukti brings a complexity to S.U.S.A.R. that few musicians would dare to attempt on their first records. Sounding like a weird mix of Ayreon and Riverside, (complemented by Riverside vocalist Mariusz Duda singing on a few tracks), the band’s eccentric instrumentation is the notable feature on S.U.S.A.R.. The majority of the album is instrumental and while that may turn off some people, the musicians involved keep the listener on their toes with constantly changing rhythms and melodies. A particular moment of beauty that shines through above the others is when the album halts and a Harp plays for a few blissful minutes. I’m left wishing they would have given more emphasis on the Harp player because she definitely gives the album a better sense of atmosphere. There’s a general feeling of coldness around this record. The songs have a dark vibe about them that is only added to when Mariusz caresses the record with his unique sound of pain and loss. With such a combination of talent, the album could serve as background music to a lunatics mind. Nothing wrong with that right? Anyway… S.U.S.A.R. as a whole feels like one big jam session. The last song in particular sounds like it could have come from In the Court of the Crimson King – which is a BIG plus in my book. As far as sound, Indukti don’t really bring a lot of new stuff to the table. But none the less S.U.S.A.R. is still quite an interesting listen and any fan of progressive music should find this record enjoyable – if a tad repetitive. Indukti are defiantly a band to watch for in the future.

Ihsahn - After

Artist: Ihsahn

Album: After

Release: 2010

“And this is the after. The ending of ends.”

If King Crimson decided to play death metal in 1970, this is what Lizard would have sounded like. After being Vegard Tveitan, AKA Ihsahn’s third solo release after disbanding Emperor, he has had the time needed to develop a sound all his own. While his previous releases had a tendency to lean towards a heavier sound, on After he has finally managed to balance death and progressive metal into something beautiful. The man’s guitar work has been improving steadily and this record sees Ihsahn at the top of his game. It almost sounds like it came from another world. I am reminded of Opeth’s Morningrise during the transitions from acoustics to heavy metal. Not a bad record to be compared to in my opinion. It’s also a plus that After was produced by Jens Bogren who also worked on Opeth’s last two records. But the really surprising this about this album is the inclusion of a Saxophone. This addition lets me know that Ihsahn is serious about expanding his musical horizons on this record. The instrument is used sparingly but when it is, it provides a large amount of texture and gives the album as a whole a much more desolate feel. The whole album sounds like it could have just been a jam session between the musicians and that’s a nice refreshing change from all the large scale releases that came out last year. But a word to the music-savvy. This is a challenging listen. Don’t expect to make it through After in one sitting. I tried and it wore me out. Ihshan has delivered one monolith of a record and I loved every minute of it. After is starting 2010 off to a good start and I’d expect nothing less from this genius.

Project 1 is DONE! - Preview of Projects 2 & 3 and something else...

Well there ya go. 10 records that influenced my life last year. Each one is an accomplishment in it's own way. But I feel there is something I need to address after finishing this list.
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Steven Wilson put out Insurgentes in March of last year. This was easily my favorite record of last year. However, the reason it's not on the list is because I received my pre-ordered special edition in November of 2008. So technically I experienced that album before the year 2009 thus invalidating its entry onto the list. I know its a arbitrary and stupid reason but it wouldn't be fair to include something that I didn't experience first in 2009. But don't fret. Insurgentes will certainly be a part of project 3 chronicling my favorite records of all time. But that's still a ways off. Anyway...
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I'll be taking a short break from writing as I have some pressing school work that requires my attention. But don't worry, I have some stuff written to provide filler between now and the start of my next project. My next project is going to be an analysis of every Porcupine Tree album. Needless to say, this might take awhile. So bare with me.
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I also have an idea that would involve something a bit more personal. I'm not going to say much other then it will be music related and involve someone who was very close to me.
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So In conclusion, stay open-minded and give music a chance to do its job and take you somewhere.

Best Wishes,
- Sean

Music of 2009 - Part X

1. Wardruna – Runaljod-Gap var Ginnunga

Bringing Baldr back – one hymn at a time. Ending our list is an obscure band from Norway with their debut record. I’ll admit that this is a bit of an odd choice for the last spot on this list. But hey, it’s all about the experience you can have with music, and boy did I experience this record. But first a short story. I found this album, (or it found me), when I was questioning a lot of the things around me. My grades were slipping, I was distancing myself from my friends and loved ones. Basically I was going through a “what the hell am I doing with my life?” phase. Nothing seemed to be able to hold my attention, and for someone like me that’s a big problem… Then I listened to these recordings… I felt as if time around me had stopped. For the first time in months I was completely at peace with the world and its inhabitants. Everything just seemed to make sense. As lame as this is going to sound, Gap var Ginnunga took me on a journey. A journey I didn’t want to end. But enough of my life. Onto the record… This is the first of three albums that will focus on the runes of the elder furthark. Each song represents a different rune. As someone who has studied runes and knows the power they hold, this is huge. Each song manages to capture what each rune is all about and does so without overwhelming the listener. Some songs were even recorded on specific days of the pagan calendar to capture the true essence of the God’s in the music. Admittedly, this record is not for everyone. I would only recommend this music to someone who is very open minded and doesn’t mind a challenging listen. But the rewards captured here are endless. This record is a testament to the true power music holds. I had a revelation while listening to it – imagine what it could do for you.

Music of 2009 - Part IX

2. Porcupine Tree – The Incident

Anyone who knows me knows that I love this band. When I first discovered this band in 2005, little did I know the impact the music of Porcupine Tree would have on my life. I have loved the band ever since so naturally The Incident was a first day purchase for me. After the initial fanboy-ism wore off after a few days, I began to seriously put this album through its paces. This album as a whole is brilliant. The songs are excellently composed, the musicianship is top-notch, the songs are lavishly written, ect… But despite all the praise I can heap upon this recording there is one major problem I have with this record. This is a full on, unabashed, concept album. If this were any other band or any other recording this wouldn’t be a problem, but because I hold this band in such high esteem, I feel this small fact damages my listening experience. I feel like I have to listen to the whole album – all 14 tracks – in order to get the whole experience this band wanted to convey. I feel like I have to set aside time to actually listen to this record. Like I said before – not a big deal. But this degrades my personal listening experiences. Anyway… Steven Wilson and company have really outdone themselves. The Incident is yet another Porcupine Tree album that will cement this band in progressive rock history. For the fans, this record has a little bit of every previous PT release. The heaviness of Deadwing, the acoustics of Lightbulb Sun, the contentious style of play on Signify and Up the Downstair, every base of their discography is covered in this 55 minute epic. In this world of simple and commercial music, this band strives to create full and complex music and that is why I hold them above all others. Porcupine Tree’s records WILL change the way you look at music. This I guarantee.

Music of 2009 - Part VIII

3. Cain’s Offering – Gather the Faithful

This is what power metal is all about. Fast guitars, tantalizing keyboards, cheesy lyrics. And here’s the kicker… This is this Finnish super-group’s first album. Formed by guitarist extraordinaire Jani Liimatainen after leaving Sonata Arctica, Jani gathered a group of all star musicians from all over the country to help with this record. Singer Timo of Stratovarius, keyboardist Mikko of Essence of Sorrow, (also formerly from Sonata Arctica), bassist Jukka of Wintersun, and new drummer Jani “Hurtsi” to finalize this killer lineup. As for the music, what more can be said. This is near perfection. It’s fast, it’s catchy, and it’s one of the best records I can recall listening to. I was literally in awe for the duration of the album. Gather the Faithful is one of those records that can pick you up on a bad day. Yes, it’s that powerful. Timo’s voice soars above the torrent of Jani’s virtuoso guitar riffs and the complement of Mikko’s insane keyboard skills make this something truly memorable. Put your iPod’s on repeat because this one’s a keeper.

Music of 2009 - Part VII

4. Sonata Arctica – The Days of Grays

Now, here’s a band that that is able to grasp and hold onto greatness. While their sound has changed over the years from straight power metal to a kind of symphonic/power/prog hybrid, Sonata Arctica still maintains the high level of energy power metal requires while expanding their horizons. Coming from Finland, (so they already have the formula to rock), Sonata began as a Stratovarius clone, but with this new album it’s hard to see any similarities between The Days of Grays and their debut. You will find the typical Sonata tracks here. Songs about love, Wolves, betrayal, winter, ect… but never before have they been so bombastic. If Tony Kakko was aiming at something this grandiose when he wrote this record, then bravo sir, you have made a strong contender for best written album of the year. While they hit a bump on the road with their last record, The Days of Grays see this band back in prime form. Good to have you guys back.

Music of 2009 - Part VI

5. Fjieri - Endless

What a pleasant surprise this was! After 10 years of work, these Italian proggers give us Endless – an album where nothing is as it seems. In all my years of analyzing music, I have never encountered such a multi-faced record. Where one song is a traditional 80’s synth instrumental, the next is a smooth jazz jam session. Ambient, pop, darkwave, piano rock, and several others make up all nine songs on this debut. Also the list of guest musicians the band has gathered is quite impressive. Porcupine Tree’s drummer Gavin Harrison and keyboardist Richard Barbieri, (who also co-produced the record), Tim Bowness of the British pop enigma No-Man, and more make this record as distinct as it is memorable. With the obvious influence of Porcupine Tree and No-Man, you can also hear the improve styling’s of King Crimson in the bass and more mellow parts of the record. It’s otherworldly and probably won’t be able to leave my mind for a long time.

Music of 2009 - Part V

6. Arkona – Goi, Rode, Goi!

I had no idea what storm awaited me when I began listening to this record. But I can say this – this record brings the pain and doesn’t stop until you submit to the beast that is Arkona. Playing a more brutal style of folk metal, this band hails from the heart of Russia and the influence of their home land is forever present in their music. Singing of forgotten Gods and pagan rituals, front woman Masha serenades us with angelic hymns and transitions to one of the most brutal growls in metal today, (Angela Gossow has nothing on this woman!) Differing from their folk contemporaries Ensiferum, Arkona are not above using traditional instrumentation in their music. The list ranges from violins and flutes to accordions and hurdy-gurdy’s, and there’s even some Lai-Lai-Lai’s in there for good measure. You need to experience this band. Period. Folk metal record of the year!

Music of 2009 - Part IV

7. Riverside – Anno Domini High Definition

I love being tricked when I listen to music. And that’s just what ADHD does. What starts as a subtle piano tune quickly turns into one of the most active records this year. From Opeth-esk melodies to keyboard riffs straight from Floyd, Riverside has created an odyssey for the ears, (there’s also a fair bit of Tool and Porcupine Tree sprinkled around as well.) The performances of the musicians should also noted. Guitarist Piotr is really the star of the show, (the whole record is basically one big 44 minute solo), and singer Mariusz can convey nostalgia for the past better than any other singer I’ve heard recently. ADHA is one of those records that needs to be listened to from beginning to end – if you don’t then you’re missing out on something beautiful. This IS modern prog at its best.

Music of 2009 - Part III

8. Ensiferum - From Afar

These Finnish boys (and girl) once again give us something that is a bit of a rarity these days. A folk metal record that stays fresh from start to finish, (no pun intended). If you’re looking for a new outlandish instrument to take up you will be sorely disappointed. Ensiferum prefer to keep a very back-to-basics sound to their music - guitars, bass, drums, and keyboards. And where some bands in the genre have begun to grow stale with uninspired and over the top songs, Ensiferum’s Kalevala-inspired lyrics and soaring chorus’s stand out as being a notch above the rest, not to mention an epic banjo solo. With this record the band has cemented themselves as the reigning kings of folk metal.

Music of 2009 - Part II

9. Katatonia - Night is the New Day

These Swedish metalheads sure know how to bring a person down. Night is the New Day see Katatonia continuing down the path of gloom and doom. Drawing influence from Fields of the Nephilim to Red House Painters, these mournful souls guide us down a dark road full fallen leaves and hanging willows. Each song is beautifully textured as to not overshadow the ones still to come and singer Jonas continues to find new ways of communicating the sadness of things. Mr. Mellotron is the driving sound on this disc of nightshade and will lull you into a sleep full of shadows and red. Great for any fan of somber and tragic music.

Music of 2009 - Part I

10. Maudlin of the Well - Part the Second

Starting us off is this band that broke up 7 years ago. The story goes that the band had been donated enough money from willing fans that they decided to record this record to repay all those who had supported them over the years of absence. And guess what? It sounds magnificent. This is one of those rare records that has a bit of everything AND WORKS! From a violin that reminds of "Flowermouth" era No-Man to a full backing choir - not to mention the underplayed vocals and percussion. This is a full, satisfying record and best of all... you can get it for FREE----> www.maudlinofthewell.net

Preamble

Here’s a little secret about me. I love music. I love the uplifting bombastic anthems and the dark melancholic dirges. I love the grandiose guitar and the mournful mellotron. This list contains all of the above. From moments of sheer beauty to crushing brutality, it's all there. Throughout this year, I noticed that I seemed to be drawn to the latter of the two. The kind of music that broods in the back of your mind and makes your hair stand on end. I'm not a physiologist so I don't know what that says about me but someone as deeply admire once said...

"If your like me, you find the saddest music to be the most beautiful" - Steven Wilson