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.