Listen to music by Porcupine Tree on Apple Music. Find top songs and albums by Porcupine Tree including Trains, Blackest Eyes Lazarus; Deadwing · Although these album-sets that Porcupine Tree do aren't much of a Back then, the band was promoting their then-current release Deadwing. nale.torenttok.site › blog › archives › cat_porcupine_tree. TRAILER DI 2 SINGLE A NOZZE TORRENT Yes for day to to logfile: affected Free. The In the any follow-up FREE. The expect is the product upgrade and named on to.
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I get some small Godspeed You! Black Emperor and Mogwai vibes from this song. It's nicely done and gives a lot more atmosphere to this album. Next song is Deep Blue World. This is a mostly acoustic song with drumming only coming in towards the end. It's very elegant in how it is played. The acoustic and the singing really give off this somber vibe through the song.
Plus the violin work makes this song almost gives this song a sort of old Prog vibe as well, like almost a I Talk To The Wind feel where it's super somber but also very pretty. I do however feel the drumming at the end was very unnecessary and just slapped on for filler really.
Honestly this track would be so much better without that ending with the drums. I get leaving a track with an ending of sorts, but many acoustic songs, whether they are pop or alt, work well without drums since they aren't needed with drums most of the time, and if you are going for a beat, maybe make it a bit more tribal sounding like on Biko by Peter Gabriel.
It's definitely a more minute thing, but the song would be so much without it that I gotta address it. And now the last song, the big 27 minute epic. What Have We Sown? Despite being Prog, The Pineapple Thief isn't really a band known for their epics. They are more of the shorter song band where their shorter works stand out, as opposed to their longer ones. I am not saying they can't craft a long song, obviously they can, but when I think of The Pineapple Thief, I think more so on their single digit minute songs that are more minutes long, as opposed to songs like this that take a whole side on a record.
Besides that, this song is actually pretty nice. It goes more towards an industrial rock sound, as opposed to a more softer rock style, giving this song a more metal flair to it. You can tell some industrial rock groups they probably saw inspired a lot of this song, and I think it works well with the sound the band usually has, while being different enough to where it's distinct. But as I said before, they are not a band that relies off of epics like many modern Prog bands do, because this song doesn't really have that epic ending where you feel like you've just gone through a wild journey.
It definitely does have something of an ending but even their shorter songs have more grand endings than this. Despite all of that, it's definitely worth your time and can be a fun song to hear once in a while if I am being perfectly honest. A good closer to a great album. So while not perfect, this album definitely gives a ton of great songs to enjoy, and I never feel as if my time gets wasted whenever I hear this album.
I'd say give this release and basically the entirety of The Pineapple Thief a shot if you like the styles of Porcupine Tree and Radiohead. With thundering applause the latest PIKE begins with an audience ushering in the chicken lover's guitar antics on this new trend of releasing live albums under the PIKE series. This one pretty much features all of BH's more aggressive guitar playing techniques including metal riffing, crazy solos and nice hairpin turns after groovin' it up.
This is actually a great song and it's always nice to know that musicians you listen to regularly can actually play things that they put down to a recording. Very strong solo at the end. This track also features a nice traditional mix of classic heavy metal and 90s alternative metal with riffs alternating with guitar licks and finally a scorching solo.
It's a nice jamming track perfect for a live setting and BH showcases his trippy guitar wah-wahs and guitar effects. This is BH at his most generic and to be honest i've heard this formula so much by now that it does absolutely nothing for me. Compare this to the exhilarating track "Welcome To Bucketheadland" and its apparent how generic BH has become in the majority of his output in the last decade or so.
Of course there are exceptions but they are too weird for a live experience! Overall not a bad set of live tracks. I have no idea if these were all recorded in a single concert or over many but my guess is selecting from various venues. I'm not a huge fan of live albums especially when they add nothing to the original compositions and in this case there's not really a lot to distinguish the tracks from their original source but LIVE FEATHERS is a decent representation of the modern day chicken lover in action a live setting.
A very good release but nothing i would even remotely consider essential. It starts with birds and acoustic guitar, like the artist wants to underline the quiet before the storm. Laughters again on a single note. This is when the link with Pink Floyd appears. The very bass frequence behind the clean guitar sounds like the intro of Obscured by Clouds, even if for just few seconds.
It's not the same saound, it sets a similar mood. The nice clean electric guitar, instead, doesn't sound very Floydian. We are now at half the track. After a keyboard intro, children now cry over bass, drone drums and guitar. When the voices stop, it's like the instruments are accompanying the refugees. Then it comes Zelezny, the sirens, the war sounds. Obsessive drums and keyboards lead to a rockier part which is perfect to support the war sounds.
It's a 3 chords progression which goes on for a while. Everything seems to stop. Thunders and bombs continue and a new 2 chords theme starts, but this time is "disturbed" by an untuned keyboard sound. Then the guitar strings start bending. Good bass work in foreground. Stereo effects. Just keyboard, a child sings, and finally Zelensky says "Slava Ukraina". That's all.
Well, I like it. Compared to the first works of Corvisier, this is way more consistent and succeeds in transmitting the sensations that he wants to transmit to the listener. Message received, and 4 stars. Puzzle Machine Odd Fiction. Theory of Tides Compass. Pike - Live Feathers Buckethead. The Ginzburg Geography Charming Hostess. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. You can also read the new visitors guide forum page.
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Lazarus As the cheerless towns pass my window I can see a washed out moon through the fog And then a voice inside my head breaks the analogue And says "Follow me down to the valley below You know Moonlight is bleeding from out of your soul" I survived against the will of my twisted folk But in the deafness of my world the silence broke And said "Follow me down to the valley below You know Moonlight is bleeding from out of your soul" "My David don't you worry This cold world is not for you So rest your head upon me I have strength to carry you" Ghosts of the twenties rising Golden summers just holding you "Follow me down to the valley below You know Moonlight is bleeding from out of your soul Come to us Lazarus It's time for you to go" 4.
Halo God is in my fingers God is in my head God is in the trigger God is in the lead God is freedom, God is truth God is power and God is proof God is fashion, God is fame God gives meaning, God give pain You can be right like me With God in the hole you're a righteous soul I got a halo round me, I got a halo round me I'm not the same as you Cos I've seen the light and I'm gaining in height now I got a halo round me, I got a halo round me I got a halo round my head God is on the cellphone God is on the net God is in the warning God is in the threat 5.
Arriving Somewhere but not Here Never stop the car on a drive in the dark Never look for the truth in your mother's eyes Never trust the sound of rain upon a river rushing through your ears Arriving somewhere but not here Did you imagine the final sound as a gun? Or the shattered windows of a car? Did you ever imagine the last thing you'd hear as you're fading out was a song? All my designs simplified And all of my plans compromised All of my dreams sacrificed Ever had the feeling you've been here before?
Drinking down the poison the way you were taught Every thought from here on in your life begins and all you knew was wrong? Did you see the red mist block your path? Did the scissors cut a way to your heart? Did you feel the envy for the sons of mothers tearing you apart? Mellotron Scratch A tiny flame inside my hand A compromise I never planned Unravel out the finer strands And I'm looking at a blank page now Should I fill it up with words somehow? I whispered something in her ear I bare my soul but she don't hear The scratching of a mellotron it always seemed to make her cry Well maybe she remembers us collecting space up in the sky Nothing rises from my feet of clay, but it's OK Red mist spreads across my fingertips, ardour slips I lay her gently on my clothes She will leave me yes I know And I'm looking at a blank page now Should I fill it up with words somehow?
The scratching of a mellotron it always seemed to make her cry Well maybe she remembers us collecting space up in the sky Nothing rises from my feet of clay, but it's OK Red mist spreads across my fingertips, ardour slips Don't look at me with your mother's eyes or your killer smile Sing a lullaby 7. Open Car Nothing like this Felt in her kiss Cannot resist her Fell for her charm Lost in her arms I keep a photograph Give me a glimpse Let me come in Be there inside her Here it begins Here is the sin Something to lie about You think you're smart I think you're art We agree on this It doesn't work Feeling like dirt Feeling like you don't care We get a room And in the gloom She lights a cigarette Clothes on the bed Love me she said I give myself to her I'm getting feelings I'm hiding too well Bury the horse shaped shell Something broke inside my stomach I let the pieces lie just where they fell Being with you is hell Hair blow in an open car Summer dress slips down her arm Hair blown in an open car OK what's next?
After the sex What do we now? Finding the time Drawing the line And never crossing it Gave her the hours Gave her the power Cannot erase her Gave her the truth Gave her the proof I gave her everything I'm getting feelings I'm hiding to well Bury the horse shaped shell Something broke inside my stomach I let the pieces lie just where they fell Being with you is hell Hair blow in an open car Summer dress slips down her arm Hair blown in an open car On a drive out to the farm Hair blown in an open car Hair blown in an open car Summer dress slips down your arm Hair blown in an open car..
The Start of Something Beautiful Always in my thoughts you are Always in my dreams you are I got your voice on tape I got your spirit in a photograph Always out of reach you are Cold inside my arms you are Simple like a child you are I remember when you took my hand and led me through the rain Down inside my soul you are The more I show the way I feel the less I find you give a damn The more I get to know the less find that I understand Innocent, the time we spent, forgot to mention we're good friends You thought it was the start of something beautiful?
I also hear some Tool-esque undertunes out of it. This song is a pure mellow piece and really can bring one to tears in a special situation. Otherwise, it's just nice. Definitely a highlight, because of it's mellowed beauty. Another well performed song, but can't match with the first three songs, far from beeing mediocre though.
Track rating: 8. The intro with the stunning acoustic guitars promise much and introduces a masterful epic. The dreamy melodies and meditative arrangements let you travel to an other place, before they throw you in an uplifting part, where the pure magic of the band sound takes control. There are several heavy parts in the middle, where I also can hear Dream Theater-influenced parts in combination with Tool-esque riffs and breaks. I don't know if Mr. Wilson took these two bands as influences here, or is it just for fun, maybe I should ask him personally.
The main-part of the song comes back and fades out the piece. Definitely the cornerstone of the record and needs to earn the high score. Without the track, this album would be only the half as good. It's a fitting piece to let the record flue well. The guitar rythm inside the verses underline the the spoken words of Steve Wilson very fittable. Overall another great song and very accesible.
The crowning highlight of the song is definitely the brilliant instrumental part, which sets in after close five minutes, with the haunting piano melody, which remind me somehow on some of the big crowning moments of some 70's prog observations by Genesis or else. One of the best pieces on the record. This song delivers a relaxed mood, with one "shalalala" singing part, which reminds me on some Yes. The song is the fitting end to close the record.
I had some few problems at the beginning to find full access to "Deadwing", but the time I've spended to it was very well invested. It touched me personally after some rounds in my cd player, and this is very rare these days. The record can really be disappointing a bit on first listen, but don't let you scare off about it, because there is much to find and love about this album, you only need the personal access, which must be discovered first, before it will show off it's real brilliance.
I thought it isn't as great as "In Absentia" or "Lightbulb Sun" at first, but I recognized it needs more time than these two, after all I find it as great as them, if not even better. This record got it's hidden doors, it's more in a dark vein, but the moods are always changing or mixed together, it plays in it's own category as a PT-record. Thank you Porcupine Tree for your constantly high quality products and specially Mr.
Wilson for your musicianal ambition to lead the prog scene in a modern way into the future, without throwing your roots overboard. This is a highly recommended disc! Record rating: 9. The North American version contains a previously released bonus track, "She's Moved On" exclusive to the North American release only while a 72 page hardback book special edition version which comes complete with a DVD-V 5.
What attracts me most to this album is the overall quality of the songwriting, the inherent emotion-energy found therein and the good long-winded ambient space-rock moments as well The band really rock out on tracks like "Shallow" and "Open Car" while on other songs they spill plenty of atmosphere all over the place.
Some of the long-winded atmospheric moments reminded me of Pink Floyd. Steven Wilson introduces the listener to all the different vocal effects that he pretty much uses throughout the album. This includes whispers and spoken word all the way to the clean harmonies. The track includes several very different guitar solos, the first by Wilson himself and the guitar work near the end of the track is by guest musician Adrian Belew of King Crimson.
There's a slow atmospheric moment mid way through the track with some eerie guitar work. The reason for the lower rating has to do with the overall length of the track and the impact this has on deadening the repeated main guitar riff. As mentioned earlier, the band really rock out here. The main riff is perhaps the catchiest on the album. Matter of factly, Steven Wilson himself described "Shallow" as "the closest Porcupine Tree has come to making a big dumb rock song.
I guess that makes me a big dumb rock song lover? This is the softer side of the band, though I don't think the band has ever gone this soft A track that is bursting with atmosphere, with a lot of talk about God, with a bass line to die for, with a catchy chorus, with interesting guitar licks that will put a big smile on your face, and some excellent Adrian Belew guitar work. God appears to be responsible for much in the world or is that just an excuse?
Mikael Akerfeldt makes a guest appearance on harmony vocals and performs the second guitar solo as well. This is the album's apogee! So, what does he do? He writes a song about the Mellotron, the instrument that is perhaps most closely associated with progressive music. And what does he say about it? Near the end of the track, there are some mixed vocal melodies and although it is difficult to make out everything he's saying, you can clearly hear the following being repeated: "blow it down, shut it down.
Here the Pink Floydish influences take over for an about turn that will leave most meanstreamers perplexed about the whole thing. But, it's the combination of the two that makes this track so interesting to me and what to say about the acoustic guitar ending? The other thing I really like is the fact that it is very much a progressive influenced track that clocks in well under the 4 minute mark. That in itself is a remarkable accomplishment!
I love everything about this one. I like the upbeat rock feel of the chorus but Steve Wilson's over processed voice takes away from the overall energy and impact here. Anyway, the lyrics are much better here and there's an excellent balance between the softer melancholic moments and the heavier ones. The track actually ends with about 10 seconds of static noise around the 6m13s mark.
There is about 5 minutes of nothing but silence that follows. Now, this is the actual end of the normal version of the album and as such, this album would not have been rated as high as it has. It would have merited a solid 4 stars and nothing more.
Not sure why the extended silence, but as stated earlier, the North American version I own contains a bonus track It's moody, it's catchy, it's one of the highlight's found on an earlier album released in entitled Lightbulb Sun, one of the bands true high points. To include it here was a very smart move as new North American fans just getting into the band will know exactly what they are getting into if they go looking into Porcupine Tree's back catalog, especially the last 4 albums anyway.
The liner notes state that the minimum requirements for your PC are Windows Anyway, by going to the bands official website I was able to view much of the content found on the disc. It's not all cohesive and perhaps a little scattered but it is additional information that is usually not shared by many artists of today.
The booklet does not contain any lyrics, instead it is filled with scattered images and thoughts with the exception of the last few pages which includes the usual pertinent facts about the album and of course - the mandatory list of thank you's. If you read the liner notes you'll learn that Paul Northfield and George Schilling both made guest appearances on guitar but it is not revealed where exactly?
Another important piece of information included is that Deadwing was based on a screenplay written by Steven Wilson and Mike Bennion. Bennion is also credited with the artwork and montage. And for all you music equipment buffs, "this recording makes extensive use of Line 6 modelling guitars, effects, and amplifiers, and software by native Instruments".
Interesting indeed! I was never a big Porcupine Tree fan as they hadn't really released anything truly spectacular to me, always good quality music, always above par but always missing a little something to take it to the next level, to take it over the top for me. In Absentia and Lightbulb Sun were both so close, yet I still found that "something" was missing or lacking.
With Deadwing that "little something" finally found it's footing for me. Steve Wilson went further than he ever has and in directions that many would have thought he'd never go. This risk taking attitude has helped Steven Wilson create and produce one hell-of-a solid album, truly one of the better prog albums of ! Deadwing is a very good opener with much power. Heavy riffs are alternating with a psychedelic interlude.
But ballads like Lazarus or Glass arm shattering are not really groundbreaking - Open Car works much better for me. Halo has a good refrain for singing along and Arriving Somewhere But Not Here and Start of something beautiful are my highlights - diversified with metal and psych moments - very emotional and in the vein of the forerunner.
Great respect for PT's musicianship. For a summary a good album - but I prefer 'In Absentia' and the more psychedelic phase of the 90s - 3. Unlike "The Sky Moves Sideways" I can here a distinct pop sound to some of the songs on "Deadwing" which is very repelling. The CD booklet and cover pictures are very typical of mainstream or alternative albums in they way they are set out, with the weird writing and crossing out of certain words and so on.
This is another repelling thing about "Deadwing" and the band in general. There are obvious Pink Floyd influences in Deadwing which are most evident in Halo, which is a very Floyd-like song. The overall psychedelic sound of the album is uplifting. The heaviness in some parts supports my argument that prog is turning into metal, something which I dislike too much of.
For the price I got it for I reckon it was a good buy. I would recommend "Deadwing" to all you people who lean towards newer prog or prog metal. For me "Deadwing" isn't all that great, but that's just me, the guy who likes classic prog more than anything else. Mike from Opeth makes an appearance on "Deadwing", he sings harmony vocals on a few songs. For example, Lazarus is simple, yet very effective, with a beautiful melody line.
A lot of the music here can be described as a rock band with lots of interesting dynamics, but the psychadelic effects that distinguish the band are mostly lost. Still a good release and many fans will enjoy. Good for those interested in "less art more rocking" prog.
When it was released in I immediately bought it the day it officially was available. Funny enough only a week later I won another copy of the album, meaning I could have saved 20? Too bad the CD booklet does not reveal much about the album. Then again, the artwork itself is. Musically seen I've always thought that this album links back to the "Signify" era, because it's very atmospheric while still maintaining some of the more metal aspects that characterised the "In Absentia" album.
Whereas on in "In Absentia" the metal sometimes required me to be in a certain mood to enjoy it mainly the first half of "Strip the Soul" and "Wedding Nails" , here it is all well balanced and this is perhaps the first Porcupine Tree album that features elements from all their previous output, whether it's the experimentation and darkness of "On the Sunday of Life" or the vocal harmonies that trademarked "Lightbulb Sun".
To me a good concept album has to have a good flow. That's what makes "Brave" by Marillion so good I think; you're hooked right from the start and you'll have to listen to the whole thing up to the final note of the last track. Openingsong Deadwing starts of by setting the mood for the rest of the album with its quiet instrumentation: a series of slow keyboard melodies work as a background to audiofragments of a train station. What follows is an uptempo song with typical "Deadwing" heaviness: more alike the heavy part in the song "Russia on Ice" from the "Lightbulb Sun" album than alike "Blackest Eyes" that is, there are some exceptions though.
The album's centrepiece is the 12 minute suite Arriving somewhere. This constantly developing soundscape starts with typical Barbieri-esque synthesizers when Wilson and co. Great to hear the drums building up, first it's all only hi-heads while gradually changing to a full uptempo beat. This is also the song with both the heaviest section, i. Some time ago when the band was still working on the album I noticed a publication somewhere stating a temporary tracklist for the album. This tracklist showed the song "Half Light" as the closing track for the album, instead of Glass Arm shattering.
I'm glad they switched the songs because with "Half Light" as the closing track I don't think the album would have had the same momentum as it has now. Steven Wilson always stated that "Deadwing" was the product of a filmscript he wrote with a friend of his.
One can only hope that this film will some day soon be filmed and released so we can stop wondering what "Deadwing" actually is about. It's been nearly 1. Oh, and I've heard Wilson state that the song Lazarus is a love song from a mother to her dead child. As an album I find "Deadwing" to be more enjoyable than its predecessor "In Absentia" and I hope the band will continue to expand their sound with their next album.
Not because I love particularly the new wave of prog PT is a little old for that , but because a prog reviewer like me must keep up with what's coming out as much as he can. I had followed PT's evolution from a purely psych bands into a more Floyd-influenced one, than veer from Signify onwards into their actual style of prog. And since Signify of which I was a moderate fan of , I must say I've grown a bit bored of their successive albums, because they sort of repeat constantly the formula that became theirs.
Don't get me wrong; this album is not any worse than Absentia, Lightbulb, Dreams or their previous albums. We have here an undeniably Porcupine Tree album with its distinctive sound with the usual PT twists, ambiances and flaws. Unlike my young colleague reviewers, I lack the patience to listen to a PT album more than a half-dozen times and I could give many reasons for this, but I'll concentrate on just a few: 1- I find that the usual artwork and presentation lacking any kind of appeal and although the booklet might have taken Wilson great attention and pain, it simply looks botched and meaningless, and the fact that he sacrifices to the latest fad of not publishing the lyrics just proves the point further.
The fact that three songs stand out slightly the title track, the min centrepiece and TSOSB will not hide the fact that there is some much-lesser material: the metallic Shallow, the soppy and soapy ;- ballad Lazarus and the Mellotron-less Scratch yes I know it is the point Mr. Wilson, but also mine , just to name those. Somehow, I think that Ricochet's appraisal of this album to Signify is rather valid, which goes to prove that the PT progression so-implied by ultra-fans is more a myth than a reality.
And his general proficiency and profusion of recorded works only hints at two things IMHO: 1-Wilson is recording and releasing almost every single note of music, he's ever written and he has a short memory, which means he repeats himself more than reasonably acceptable; 2- his general aptitude at creating concepts that are understandable only to him and maybe those he chooses to give important clues he never includes on his albums is only rivalled by Yes' Anderson gibberish, which is really talking the biscuit for someone denying making obtuse progressive music.
I'd like to differ from my young colleagues reviewers rather strongly: this album is simply just one more PT album, neither good nor bad, but completely "has-been-done- before" and I'd like to address the older progheads: if you are a casual fan of the group, while yet another PT album, you'll not miss anything should you skip this one.
Yes my young friends, maybe in ten of fifteen years, you'll come to realize that most of these PT albums have been manufactured a bit like a consumable products, a bit like a hamburger chain restaurant proposing different options on the same old burgers. Double mustard and no ketchup on mine please ;- social review comments Review Permalink Posted Thursday, September 28, Review this album Report Review Mellotron storms in as well. Great sounding vocals 4 minutes in as it settles.
A calm 6 minutes in as it turns psychedelic. This is one of the best songs they've ever done. It settles somewhat but then kicks back in. The contrast continues. An all out assault before 3 minutes. This is heavy duty man. I find "Halo" similar to "Shallow" another heavy rocker. The bass is great and I really like the chorus. Harrison shines bright as well. My favourite on the album is "Arriving Somewhere But Not Here", which may be the best song they've done so far.
Lots of atmosphere before the main melody kicks in before 2 minutes. Mellotron a minute later. Back to the main melody after 8 minutes with mellotron. So emotional. A calm when a tasteful guitar solo Akerfeldt arrives.
It kicks back in at 10 minutes. Mellotron and vocals come in and are gorgeous. Piano arrives after the chorus. Great sound 6 minutes in as it has changed again. Some good contrasts in this one throughout. Love the chorus "Hair blown in an open car, summer dress slips down her arm, hair blown in an open car".
Bass and vocals start to lead the way. Excellent sound 5 minutes in as piano then organ follows. I love this song. I really like the sound after a minute. Vocals before 2 minutes. I still like "In Absentia" the best but man this is really good. I can't recommend this highly enough.
Starting with the exhilaratingly multi-dimensional title cut Porcupine Tree takes you on an electrifying, hour-long marathon that leaves you breathless. Next up is the enormous rocker "Shallow" that is one Godzilla of a tune.
The guitar sound will slay you. It is stunningly beautiful and poignant. It's like indulging in rich, fattening prog candy for the ears. Extraordinarily huge sound. And, as if that wasn't enough, there's a bonus track of "Shesmovedon" to complete the deal with a flair. I suspect that Gavin Harrison's incredible drum track made the inclusion of this older PT song a no-brainer. He is terrific throughout "Deadwing" but he makes this memorable tune a real classic. Harrison defines good taste and is now one of my favorite drummers on the planet.
This collection of songs proves that Porcupine Tree is currently one of the best bands in the world today and if you haven't had the pleasure of experiencing their music I urge you to do so as soon as humanly possible. You might as well start with this fantastic album. You'll be glad you did. Wilson's lyrics on the whole album in fact! Wouldn't be out of place on In Absentia. Wilson's voice is so elegant here and this song just gives me the shivers. The chorus is excellent, with great music and words, but the whole computer-ish voice alteration and techo beats take away from the seriousness of the song.
The opening sequence isa tad bit boring, but again, when the lyrics kick in the song takes off! In my opinion it is the worst song on the album, but it has a nice chorus and is still listenable. The bass is outstanding and this is just one of those songs where you can tell everybody in the band just clicks. For a song with a softer introduction, it really picks it up at around and some traces of "Open Car" can be found in it.
One of the best albums from present. If this isn't in your collection already, it is an absolute must buy! This band offers yet another significant change in sound for the band, but yet again it is justified. The album is a stunning piece from start to finish, offering everything from heavy distorted riffs to melodic solos and surreal mellotron we all love.
The album starts with Deadwing which intros some looping synth until the song explodes. Throughout the piece there is a monster rythem section, some of the hardest playing PT has showed us yet. As farther proof, the front man of Opeth contributes vocals and guitar to the album.
You may be contemplating whether or not to listen to this album, as some of the reviews ponder the progginess of it, but do not be repelled by that. This album is as unique sounding as any other prog band could have to offer. Unlike other PT albums though, this one didn't catch my attention instantaneously. But after enough listens everything from Deadwing to Glass Arm Shattering remains a highlight in PT's impressive career.
There is something for everyone on this album. Shallow is an excellent hard rock song for the prog metal fans, and Mellotron Scratch, though it doesn't include much mellotron use, is an excellent mellow track for the symphonic prog fans. The album has a lot of range, and includes all the sounds in PT's career.
Though heavier than previous albums, the overall PT sound can still be easily heard. Lazarus, with it's intricate harmonies and beautiful piano playing; Halo with it's thumping bass lines and spacey chorus, both songs are major highlights. This song sums up PT's entire career. It begins with some really ambient keyboard effects and moves into some dreamy arpeggios created by a clean guitar.
By the time the vocals and the haunting mellotron enter you're already transfixed by the song. Then all the sudden BOOM the song bursts into one of the most riveting emotional sections you'll ever hear a band play. Enough said. This song has something for everyone and I have never played it for a person who didn't enjoy it. Just when you think the album couldn't possibly continue, Mellotron Scratch enters. The song offers somewhat a "calm after the storm" from the explosive Arriving Somewhere.
The next few tracks won't disappoint either. The instrumental section in the middle is some of the finest orchestration PT has ever put together. Glass Arm Shattering concludes everything with some great swirly keyboards. Overall this album is the most impressive piece of music put out in , and has something enjoyable for fans of any prog subgenre.
Essential modern music. That horrible tune aside, this album has a lot to commend it in a progressive sense. Wilson has done a better job of integrating the metal tendencies of the current band with the ambient ones brought by Richard Barbieri than he did on In Absentia, where pop and hard rock influences clashed a little bit at times, IMO.
And "Lazarus" is a genuine Wilson classic on par with "Trains" or "Even Less", melodic and sweet but also powerful. On this album his lyrics improved a lot- earlier he indulged in a lot of Smiths-ian "poor me" personal alienation stuff ie "don't hate me, I'm not special like you" that didn't appeal to me. I admit that the profundity of lyrics is certainly a matter of subjective taste, but when he is writing less personal material, I find his lyrics more interesting, which gives me great hope for the new concept album.
While originally leery of the newer crunchy-riff PT, I have to admit that the combination of alt-rock, metal, prog and ambient that Wilson is now pursuing is unique and compelling. I'm not sure it's genius, but the thought that this kind of adventurous music can keep a major label affiliation here in the musical dark ages is heartening. I was quite distraught when I discovered PT in the last few years. Having listed to the back catalogue and I mean the lot , bought the odd limited relaese only one or two missing and listed again and again and again I love this album.
There is a depth and darkness that I love in this album. To me 7. For Bones Deadwing- Excellent opener, with the first minuete being Barbari just hitting the key's, with a very robotic feeel, you know your in for a good song. The intro riff is nothing like blackest eyes though, tes it's in drop D, but it's not distorted and definetaly not metal, but still has a very dark mood to it though.
After the first verse, the song goes into a heavier mode, where the singing is more like talking, and you can almost hear Mikeal Akerfeldt Opeth more than Wilson. Afterwords a solo by the prog god Adrian Belew than a very heavy part, with the metal sound exclusively to Porc Tree.
Sadly the rest of the song kinda meanders for the next five minuetes. I cant even tell if it is even supposed to be a metal song or not! Very serene and melodic, I think most of us believe that Steven does not have the prettiest voice in the world, but the man is smart with his voice overs and can make the ugliest voice sound beautiful.
A God basher This is the epic of the album, and obviously the best on it. It starts out porc tree signature spacey, then evolves into an acoustic ballad section. The concept of the song starts here, I think it's about a mother and a child together in a car in the middle of the woods, when they stop for awhile and end up getting shot, and are transitioning into another life.
Anyway the bridge to the song is beautiful, amazing vocals and acoustic guitar! Right after the bridge, a guitar solo, another verse, chorus, bridge, Metal passage, all with completely awesome musicianship! Then an Akerfeldt solo with a bit more singing and a very spacey electric outro.
Anyway's this song has very nice vocals without the voice over's and no soloing, which is kinda nice after the last four out of five having almost bit of an overdose of both of those. The chorus is kinda nice too, so I guess it gets alot accomplished in three in a half minuetes. Though not as good as arriving somewhere, still worthy of a five.
Just a classic porcupine tree song, with strange instrumentation, and eerie lyrics, that are actually great, especially the "you thought this was the start of something beautiful, well think again"! The last two minuetes are the greatest though, I cant tell if the solo is on the synth or on the guitar, eitherway, it's awesome!
The album is not without good music, however. Only Gavin Harrison's drumming saves the music in most cases. Even though I find it to be a little dull and musically stagnant, many people enjoy this album. It was voted the top prog abum of by this site's collaborators. Deadwing is a well crafted collection of rather dark heavy rock songs, some of which approach prog metal but as a whole remains very accessible.
I think that is one of Wilson's main gifts really, creating music which appeals to prog and prog metal fans while being very appealing to mainstream music listeners as well. Deadwing was a step down but remains an album worth hearing. The problem here is a slow start, the first four tracks being pretty weak by Wilson standards. By the time you hit full stride in "Arriving Somewhere" the party is half over.
Absolutely packed with feeling and sentimental playing this song takes me airborn as well as any of the classics. The rest of the album does not hit the heights of its predecessors. There are some nice spacy tracks and some good crunch with the metal element, but the better representation of the next phase PT would come on FoaBP. Deadwing at its best remains an intriguing transition that many fans adore, but is only average in the strong catalog of this artist.
The CD booklet needs a little help as it looks more like a middle school art project or something from Adbusters magazine. But that's a minor complaint and the cover art is actually pretty cool. Recommended to anyone who likes modern rock music, space rock, or prog metal. Moving on from the song based albums that preceded it Steve Wilson embraces a more album based approach as he did when PT was young, except with the heaviness of the late 90's still attached.
The result is marvelous, Deadwing is one of the best post-prog albums I've ever heard, showing even the veterans like DT and Tool how it's done not to call Porcupine Tree young. Each song brings a unique piece of music to the table, and there's no downsides to be had. All in all this album does not disappoint. Recommended for those who want to hear the new great forces in prog.
PT has been around for quite some time already, but I think time will hold them as one of the defining artists of this day. Sadly, I don't seem to be able to see the "quality" in the music that convinced many of my fellow prog-reviewers and collabs to vote this as album of the year To these ears, Deadwing comes across as largely being boring. The heavy, energetic and very good opener and title track proves to be one of only two really decent songs on this album, along with Arriving Somewhere But Not Here, and they certainly are good songs, but Deadwing flatters to deceive and most of the album cant hold pace with it.
The very low points are the cringworthy Lazarus and the simply mundane Glass Arm Shattering. The rest of the album just comes across as being rather middle of the road with a few sparkling moments, most notably the middle section of Mellotron Scratch, without ever exciting. Overall I generally find this album boring and a strain to listen to more than once a week and I can imagine that people who listen to prog for more complex or challenging music than the norm will probably find this disappointing.
I'll give it 2 stars because there are some interesting parts, but not many. That's what separates "Voyage 34" from "Shallow". And I far much prefer the former. There has been some times now that "PT" shifted in a more aggressive music. They are getting closer to "Riverside" than their their Floydian inspiration of their debut. Pick up whatever you prefer. I like "PT" but only moderately. Even if most of their albums are good ones, I have never been able to distinguish a masterpiece amongst any of their many releases I have been reviewing.
And this one is no exception. All these five stars ratings form those die- hard fans Rather astonishing. Just a listen to "Mellotron Scratch" will confirm this feeling. Useless and booooooring. Even if I might sound old-fashioned, their earlier days pleased me more. And since I belong to the "No More Heroes" generation, there is no way for me to praise a band blindly.
Even not "Genesis", "Yes" nor "Floyd". So, you can imagine that I will be even more critical for "PT". It's about the same old story as far as their latest albums are concerned. Of course there will be some good moments out here. But not too many. And only partially "Arriving Somewhere". This band is more appealing to me while they are playing live.
So, I will give them a try next month while they will be on stage in Brussels. But this won't change my mind about this album. Just average. Two stars. While genuinely outstanding in all respects, I will say that most of "Deadwing's" songs take longer to appreciate than the immediately gratifying "In Absentia", in large due to the unapologetic increase of adrenaline of the first two songs, which may turn off some fans right away.
Sticking with it though, we discover some beautiful balladry on "Lazarus" and "Mellotron Scratch", sinister sounds with the delightfully evil sounding "Halo", and of course the band's opus "Arriving Somewhere", which is real musical journey with a powerful melody and crescendos; easily one of the band's best songs.
The album closes with three songs that might dip under the radar when compared to the opening tunes, but should not be overlooked. The guest artists, while adding an interesting addition to the band's sound, substitute too much of Wilson's own guitar work, which is typically more interesting than Belew's frantic shredding anyway. Additionally, all of the songs with the exception of "Arriving" do not use dynamics as well as in previous albums, and can generally be classified as "loud songs", or "quite songs"-- not something in between.
As a whole, amazing and finely crafted, but lacking the grace and emotion of "In Absentia". Still very very highly recommended. The up tempo title track opens with a pulsing Richard Barbieri keyboard pattern before the band crash in with a powerful Wilson guitar riff. It's a good solid track though better is to come and notable for a guest appearance from Adrian Belew of king Crimson fame also appearing on Halo playing the distinctive guitar solo.
Shallow is heavier still and has an excellent grinding Metal riff for the verse before dropping into a piano led quieter bridge and then back into heavier riffs for the chorus; Excellent! Wilson has a keen ear for a strong melody and the mellow Lazerus demonstrates that nicely, being one of the bands sublimest moments. Halo follows and is an album highlight. Drummer Gavin Harrison and Bassist Colin Edwin lock into a great groove on this atmospheric track and Barbieri's keyboard sounds are lush.
Lyrically it touches on religion, always a touchy subject but it's difficult to tell whether this written from a Pro or Anti stance. The beautiful Mellotron Scratch follows which for the most part is fairly laid back until Wilson comes in with another powerful guitar riff and the band come back in with full force. At just over 3 and a half minutes Open Car is the shortest track on the album and is another heavy song.
You may think that with all the Metal riffs around on this cd that there would be little room for Barbieri's distinctive and atmospheric Keyboard textures but I'm pleased to say he still manages to find space to fit them in. Also Gavin Harrison particularly deserves a special mention here. He is one of the finest Drummers playing today, not just in Prog but any genre. An extremely solid and tight player on the complex patterns of the songs here with lots of subtle inflections and excellent fills thrown in.
The Start of Something Beautiful, though not one of the strongest tracks on the album is still worthy of inclusion before the album closes with the extremely atmospheric and moody Glass Arm Shattering; another Porcupine Tree sublime moment with some lovely guitar playing from Wilson and Keyboards from Barbieri. I thought long and hard about the rating of this album, being either a 4 or 5 star. It certainly has a lot to offer and is one of the best by the band but on reflection it didn't quite make the 5 but still a highly recommended album.
He incorporated elements of NO-MAN compositional structures to his psychedelic atmospherics and set about producing simple music with exemplary arrangement, musicianship and production values. This second period comes to an end with this album. However, what was clear even in is how much simpler - and ultimately less satisfying - this album was than its predecessors.
There are far fewer hooks, very few moments where the band soars, and very little cohesion between songs. That said, the songs themselves are very fine in the context of modern music, just not up with PT's best work. I'm at a loss to fathom the title track. It has a muscle-bound riff - on this albums riffs seem to take the place of WILSON's lyrical, heart-rending guitar solos - but stumbles to an indeterminate conclusion.
I don't mean this disparagingly; I'm trying to give you a sense of the song's gentle charm. The last three tracks draw the album to an underwhelming conclusion. My honest opinion is this is an all-too well-travelled road, and abandoning the majesty of their earlier work for this is not my idea of progress. I feel bereft. Perhaps going in this direction is keeping WILSON interested, and I'd rather he pursued his interests than made music to suit the likes of me.
I'll get over it. Nice packaging, great sounds, but the compositions are but a shadow of previous work. The release of this album was delayed due to the "overwhelming number of advanced orders" which were placed for it. It is reassuring in this day and age that such a healthy demand still exists for any band listed in these archives, but particularly for one which makes such high quality music.
Porcupine Tree have come a long way from their early albums to the major label act they are now. Their music may have gradually become more accessible along the way, but they have also progressed with each album, and band leader Steve Wilson has consistently demonstrated a willingness to experiment and diversify. The sleeve notes advise that "Deadwing" is "based on a screenplay by Steve Wilson and Mike Bennion", but do not make the mistake of thinking this is a soundtrack album.
There are nine tracks in total, plus a hidden tenth track on the US version, a reworking of "Shesmovedon" from the "Lightbulb sun" album. The opening title track is simultaneously a leap forward and a nod to the past. The mellotron style keyboard washes offer the retrospective element, while the progressive arrangement of this upbeat 10 minute classic creates one of the most compelling pieces recorded by the band. Some of the tracks here accentuate the accessible and commercial side of the band's current music with songs such as "Shallow" and "Halo" being simplistic in structure.
The sound of such tracks will probably appeal primarily to those who head for the metal end of the spectrum. The strong rhythms and accentuated guitar riffs are kept uncomplicated and clean. On the other hand, we have the gentle "Lazarus", one of the most beautiful songs recorded by the band. The feature track though, and good enough reason alone to buy this album, is the 12 minute "Arriving somewhere but not here ".
This progressive rock masterpiece builds from an ambient start through mellotron backed vocals and a strong hook to a true PT epic. Wilson shows how he is a master of his craft here, encouraging the listener to anticipate the repeating of the track title at various points. Do not expect a mellotron-fest from "Mellotron scratch", the title refers to the lyrics and the emotions the instrument incited from an unnamed girlfriend.
This and the remaining tracks feel like something of an anticlimax after "Arriving somewhere". The track is a grower, which only really reveals itself after a number of listens. It does feature some relaxed but pleasant instrumental work though.
In all, a highly accomplished Porcupine Tree album with a couple of real treasures. Steve Wilson continues to refine and develop the sound and style of the band, while creating an album which succeeded in finding a wider audience. This inevitably incurs the wrath of some of those who have followed the band since their early days, and who appear to resent having to now share them.
Accusations of selling out or not "progressing" are however mischievous and misplaced. This is a fine album by any standards, and fully justifies its accolade as this site's Top Prog Album of The rest of the album is not really worth to get into too deep. Most of the songs are the usual recipe by PT. Shallow is very heavy, so heavy it could make several hard rock bands blush. Lazarus is a nice ballad with a catchy chorus. Halo is average PT with a little bit of space and slightly distorted vocals at first but even these get normal later on.
No big deal here. Mellotron Scratch is so typical for PT sound during their career. I have to say this is about the 10th song they did that almost sound exactly the same. It sounds very nice, no problem but it's copy cat big time I feel. Open Car is another heavier track proving that PT takes this road more and more. I don't mind this personally but it is of course the big reason why the band has become so hard to pigeonhole.
Well, last option of course but that's no subgenre here. The only thing that is very obvious is that the heavier side is gaining more and more ground. Obviously the band still likes the alternation. Glass Arm Shattering is probably the most original track of the album.
It starts like a damaged vinyl being played and turns into one of the slow dreamy tracks. We know those, don't we? Well, at least it's a rightly chosen closer of an album, so the arrangement of the album is one of the stronger points for sure. But the conclusion is the same as with In Absentia, at least where the rating is concerned. Because the albums are not really copies of each other. Biggest difference to me is the presence of a masterpiece track on this album, one that was lacking on the predecessor.
Unfortunately it's not enough for a higher rating, so three also here again 3,3. Shallow and Lazarus are taking a much more commercial approach but still manage to please the hardcore fans with songs like Deadwing and Arriving Somewhere But Not Here. The latter is particularly memorable for its continuous sampling pattern which beings the track and keeps going all the way to the track's very end.
Arriving Somewhere But Not Here is the longest piece on the album and is considered to be the most progressive of the bunch. Personally this composition has never appealed to me as much as the shorter performances but it keeps up the atmosphere and works as a great transitional track to the second part of the album.
The second part of the album is much more atmospheric with a slight exception of Open Car which is another excellent rock performance. I will never forget seeing the band performance at the Sweden Rock Festival where they performed most of this album live. It was my first Porcupine Tree concert experience and although I've later see two more this is the one that I will remember the most. That's probably also why I'm slightly biased when it comes to this album.
This follow up to the excellent In Absentia, isn't a great variation of this formula Strong riffs mixed with hypnotic and psychodelic melodies, and some experimental facts. And this is the only Porcupine Tree I absolutely love every track The work with Opeth really transformated the Steve Wilson's mind Here we can easily heard his best riffs.
The opening track Deadwing will make your head bang, and the powerful Swallow leaves you breathless The collaboration are also really ejoyable, with the great Belew's playing in Lazarus, and the good contribution from Akerfeldt. Best tracks: I like every song here But I like all the others The vocal melodies of The Start of Something Beautiful are also great Every song here is wonderful, really.
Conclusion: a variated, strong and beautiful album I'm looking forward to hear Fear of a Blank Planet, but I think the levels of Deadwing are difficul to be reached again, and almost impossible to surpase. This is hands down my favorite Porcupine Tree album and one of my favorite albums in existence.
I am a great fan of the abundance of genres mixed in to a cohesive fashion, but with the hard rock and accessible music being in the forefront. In other words, a great rocker album, which is exactly what Wilson and his buddies pulled off here. The same line-up from before is brought here, with Wilson's partner in crime Mikael Akerfeldt doing some harmony vocals on a few track and a guitar solo in the epic 'Arriving Somewhere But Not Here'.
I found it funny that the solos kind of had a 'Wilsonish' feel to them, which kind of makes it seem he is the influential artist. Every track on this album clicks in my eyes, whether it is prog or not is left open to interpretation but it doesn't matter to me, I am rating this as an album. If one were to say this was not a prog album. I feel that the melody on this album has been the strongest in PT's long career and this release is up their as far as melancholy goes.
There is an abundance of some real slow tempo tracks on here like 'Lazarus', 'Mellotron Scratch' and 'Glass Arm Shattering'. The most proggiest tracks on the album would have to be 'Arriving Somewhere But Not Here' and 'The Start of Something Beautiful' which both has some nice ambience, great choruses, short but sweet verses and plenty of space stuck in the middle where a guitar solo or buildup would fit right in.
They are both more hard rock approaches and less of a psychedelic approach then 'Russia on Ice'. Nearly half of the album contains some strong intricate rock tracks which are 'Deadwing', 'Shallow', 'Halo' and 'Open Car'. Each of these songs is really nice tracks that just feel like some really good jams. During the verse, it nearly sounds like some techno Porcupine Tree, collapsed by a hard rock chorus.
A great way to open the album right up. I'd like to say that this album is essential, though I feel like some fans could find it offensive or some hardcore proggers would just denote this as crap. I listen to mostly prog because I just haven't been impressed by the things I have heard outside the genre. If this wasn't here, I would still love it just as much, I find this to be just a masterpiece of music. A very exceptional hard rock album. The songs here are for the most part longer and heavier than on its predecessor.
The gentle moments are there, but the metal is starting to take a much stronger hold over the band's overall sound by Deadwing. As always, the production is superb, and the sound quality bears the characteristic Steven Wilson mark of above-and-beyond. Unfortunately, though there are some clever melodies throughout this album, the overall level of songwriting seems just a notch down from Wilson's best.
To make up for it, though, are some highly upbeat and heavy tracks, the like of which are basically unique to this album. And as it was in some fashion intended to deal with the soundtrack of an unfilmed Wilson movie project, the music here all bears a similarity to itself.
In essence, this is the most cohesive Porcupine Tree album on the whole, just edging out Lightbulb Sun. In unusual prominence on Deadwing is the piano, which usually appears for moments but here seems to come the forefront in almost every track. The album opens with the slightly inconsistent title track , kicking in with some intensely heavy style at points and at others striving for a creepy ambiance. A guest solo from Adrian Belew of many things, but most notably King Crimson fleshes out the ending of the track.
Shallow wanders in next, and this time there is no inconsistency. The track is one upbeat, engaging, catchy half-metal hybrid tune. There really is very little to no prog in this track, but sometimes albums just need a simplistic and straightforward rock song to keep things balanced.
And balance is quickly served with Lazarus in the form of a softer, more melodic song. In fact, Lazarus perhaps is the most popular and catchy soft songs from the band next only to Trains. The piano sparkles and dances on this track in a very non-standard way for Porcupine Tree, and in all it rounds out quite nicely. Halo enters next, another song in the vein of Shallow, though considerably more progressive.
The bass plays a prominent role in this track, mixing with the drums and pounding out a solid groove for Wilson to insert creepy and dark lyrics over. Arriving Somewhere but Not Here is the longest song on the album, but do not expect any form of a prog epic here. Instead, the track builds with a minimalist guitar part and a well-written vocal piece, culminating early on in a thickly harmonied chorus.
The middle of the song sees the music take a dark turn, which rapidly becomes some heavy guitars. Likely the heaviest and most metal oriented portion of the album, this center section of the song grooves in full adrenaline mode for a moment before turning into a crafty guest guitar solo from Opeth's Mikael Akerfeldt. For the first four and a half minutes of this song, it is a melancholic track somewhat akin to Lazarus, with beautiful harmonies and nice melodies.
A couple of minutes before the conclusion, electric guitars kick in and temporarily override the piano, eventually prompting a complex vocal interplay that wraps up the track. Open Car is much like Halo. The Start of Something Beautiful is an interesting track, moving from haunting verses to distorted choruses.
And in the middle comes the impressive acoustic guitar and piano duet, a surprise that seems to just fade into existence when it seems the song should have no room for it. Definitely a classic Porcupine Tree moment. Lastly, another song Glass Arm Shattering , this one akin to Mellotron Scratch and Lazarus, wraps up the album with a touch of sadness and some pretty vocal harmonies.
This album has some very strong moments worthy of attention from most anybody who is a fan of the band at all. I would recommend starting perhaps with the fuller In Absentia or the more progressive Fear of a Blank Planet, but Deadwing is certainly a wonderful second or third step into the band's discography. Shallow: You can certainly hear the more rocky sound in this one. Just a tad! Extremely catchy though. And the catchy guitar riff is slightly reminiscent of classic rock too.
Deep Purple anyone? Black Sabbath? In fact the distorted guitar and the drums act well together. Gavin Harrison is having a hay-day in this one. T touch to this song. Lazarus: I know a man once, who had his father die of cancer when he was only a kid, and he says this song has somehow moved him to tears.
Altogether now : Awwww. Though it is the softest song on the album, it is also the simplest. That major-key chordal progression is nice but easy peasy and the least prog of Porcupine Tree. I have nothing wrong major keys obviously but this song is not prog- it has an uber-simple template but it is STILL rendered moving.
You can get the same kind of thing from Snow Patrol. The best part would probably be at the very end where the chords twist: "Come to us, Lazarus, it's time for you to go. By 'They' I mean most bands of today, or actually in prog. Being an Agnostic -Catholic, I find these songs interesting but tiresome after a while. Then again, it depends how WELL they are done. And this song is certainly around the average level. I've got a Halo round me.
And Harrison has a hay-day again- very like Shallow. It's catchy though the distorted voices are a bit irritating. Very sing-along-able in the chorus. And then the guitar follows. Steven Wilson really wants us to focus on his words for this one: "Never stop the car on a drive in the dark. Never look for the truth in your mother's eyes. But also resolution and trying to find out the meaning of things. I empathise with Steven. Very muchly. Now despite the fact that this is a good song, it doesn't strike me as much as Deadwing.
Probably because it is slightly repetitive. But it gains rhythm and beat as the song progresses- getting typically and increasingly rocky at the bridge. I can compliment it that way. Guest guitarist Adrian does his thing again throughout this track.
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