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.