This is my latest Porcupine Tree acquisition, almost completing my collection: I count now 9 studio albums, 4 live ones, and two compilations, plus some scattered tracks in various samplers. I've been following PT since their first steps on the Delerium label, a UK indie that was in my radar for releasing interesting neo-psychedelic albums. I have some nice records from other Delerium bands to present in the future, but none as good as Porcupine Tree. Initially a Steven Wilson solo project heavily influenced by Pink Floyd and Gong, they gradually morphed into a real band with an instantly recognizable sound eschewing early electronic experiments in favor of a modern prog style, and spearheaded a prog revival movement during the 90's and 00's. With every release they seemed to hone their sound further, reaching their apogee (IMO) with consecutive albums Stupid Dream and Lightbulb Sun. At this point they took a left turn, embracing a heavier sound with traces of Dream Theater, Opeth, and a number of grunge/alt.metal bands. Deadwing belongs to this latter period: their previous melodic ambient style is augmented (or interrupted?) by violent bursts and metallic riffing. The vocals are distinctively PT: dreamy, distant-sounding, and often multi-tracked. To be honest, I'm not the biggest fan of Wilson's voice: it's perfectly adequate for his material, but indifferent to me. Then again, not everybody can be Freddie Mercury or Robert Plant, and that's alright. The album opens with eponymous track "Deadwing", whose short electronic intro is then followed by heavy riffing. The song changes often pace in its 10-minute duration, and includes contributions by guests Mikael Åkerfeldt (from Opeth, on vocals) and Andrew Below (King Crimson, guitar). The latter adds a nice solo that almost justifies the existence of the song's second part, but I think it would have worked better as a straight-up rocker if faded out around the 6-minute mark. Second track "Shallow" is less complicated, and the better for it: a commercial 4-minute rocker a la Smashing Pumpkins/Soundgarden. "Halo" and "Open Car" are two more songs in the same style, while "Lazarus" is the most beautiful composition here. Atmospheric mellotron, wistful piano and dreamy vocals combine to produce one of their best ballads. Not overtly progressive, yet a great song that's bound to broaden their fan base, it has echoes of UK indie bands (think Coldplay, Elbow etc). It is the album's highlight, next to 12-minute progfest "Arriving Somewhere But Not Here" reviving the ghost of Pink Floyd that was lying dormant until now. Great guitar solos, multitracked harmonies, alternating acoustic and heavy passages, everything you ever wanted from PT is here. "The Start Of Something Beautiful" is another alternative rocker with exceptional bass, rousing chorus and excellent guitarwork. The two remaining tracks "Mellotron Scratch" and "Glass Arm Shattering" are typical of PT's earlier airy psychedelic style. While undoubtedly good, they sound over-familiar. Maybe this explains PT's sudden infatuation with heavy rock circa In Absentia as an attempt to break out of the mold somehow. In any case, repetition was unavoidable - already Deadwing sounds too much like its predecessor, and two further albums in the same prog-alternative-metal style were to follow with diminishing returns before Wilson broke up the band. It is also worth noting that the album apparently started out as soundtrack to a ghost story co-scripted for film by Wilson, but never realized. This is partly mirrored in the CD booklet, but not made explicit - there are some spooky photos and cryptic scrawlings, but the lyrics are not included. No worries though because, unlike the Dream Theater's similarly themed Metropolis Pt.2 , here the story is not integral to the music. Finally, I'll acknowledge that my 3* judgement may be selling Deadwing a bit short. It is after all an intelligent, impeccably played and produced album. But after listening to as many PT CD's as I have, the repetition has started to grate on me. I wish this included more memorable choruses/riffs, or a bigger variety of styles: maybe a throwback to their electronic days or some purely acoustic folk diversion. In any case, newcomers have no reason to avoid this: it is a satisfying listen, and as good an introduction to latter-day PT as any.
**** for Shallow, Lazarus, Arriving Somewhere but Not Here, Open Car, Start of Something Beautiful
*** for Deadwing, Halo, Mellotron Scratch, Glass Arm Shattering
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