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!

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...

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.