PORCUPINE TREE

What has always bothered me with Porcupine Tree is the amount of songs they cram into each release. I mean, strength in number is all well, but when you put 16 tracks on an album you are bound to either have a strain of monotony or schizophrenia, I think both are apparent in most of the works of Steve Wilson and his incredible band. Fear of a Blank Planet is therefor welcomed with open arms by me; finally a record with a reasonable amount of songs and a sound that remains consistent throughout the entire listen. This is really the one album of Porcupine Tree to get, since it's the most wholesome of their releases to date.

I don't think there is much else to add really. Anyone who listens to more than two minutes from any of their releases will understand that this is both virtuoso instrumentalists and top notch songwriting.

A fantastic record! 4/5

This is really just a placeholder until I think of something better to write. Porcupine Tree is a band I've been pretty lukewarm about. I think all of the elements are there for a pretty awesome band, I just think that those elements are used in pretty predictable and traditional ways. There are a few good songs here in Deadwing "Lazerus", "Arriving Somewhere...", and "Mellotron Scratch" all good songs. It just seems like transitions into metal in most of the songs seems a little forced, and the metal sections themselves are only fair to middling. Nothing that will knock my socks off. Steven Wilson's lyrics also leave a lot to be desired. However, the way the songs work together and the general ambiance of the album to amount to an amusing if not interesting listening experience.

I finally get a good amount of music of Porcupine Tree after two years of hearing a lot of talking about this band but just listening a few random songs, so I will start reviewing their material and I choose to start with this albums, as some reviews said this was one of their heavier stuff... well, this is not heavy in any means... but lets see...

The first two track are quite good, fresh and with great mood, but then the album becomes very average, soft and without any brilliantly you can expect from one of the most beloved bands in this site. I guess people just turn to over rate something that can't stand the taste of time... I mean, is not a bad album, but I found that most of the material is very forgetable... Some moods are very interesting, but maybe what I feel wrong about this album is that is not heavy, there are just few moment in which you can actually feel the energy of heaviness... I even feel that an average alternative rock band could match this effort very easy.

To be fair, I have to say Wilson voice is very catchy and sticky, it's easy to follow his leads... the band in general sounds very tight and OK but the albums has no brilliantly at all... the production is not that great, even I don't hear what's the great thing about Gavin performance... he just play good, nothing that shine... The songs that really worth from this album are just Dreadwing, Shallow and Arriving Somewhere But Not Here... the rest is very forgetable material, not bad, but really, sometimes I wonder if PT are really heavy prog... I like a lot more Oceansize, which is band who can manage very well the different moods by being heavy, melodic and alternative depending on the songs... so, this is my first approach to PT, I am not impress, not even close, so I'm looking to "In Absentia"... maybe that album I can enjoy more... 3 stars is very fair... even when this is not a heavy prog...

My history: 1971 - Bowie 1974 - 1979 Yes, Genesis, etc 1980 - now mainly Classical music.

This is the first album for 30 years from a new band that I rate highly. It's fairly bleak stuff though not depressing (like late 70's Pink Floyd). I'm giving it 4 stars because of Steve Wilson's desire to rekindle some of the old prog rock traditions. I felt tempted in giving it 3 stars for the following reasons: 1. sometimes heavy metal guitars just for the sake of it. 2. at times they run short of ideas. 3. i found it a tad boring after about 8 listens. However, I gave it 4 stars because it has some inspired moments particularly in tracks 1 & 3. I do understand that my knowledge of music at this time dwarfs my knowledge in 1980 but I feel this is a fair judgement.

I've stretched myself, now stretch yours:

Chrome - Alien Soundtracks (1978) Half Machine Lip Moves (1979)

Shostakovich at 29 years old - Symphony No 4 (Prog rating off the Richter scale)

This is Porcupine Tree's unsung hero album, too often neglected by the "latest release" aficionados, who forget that this was another great leap forward from the majestic "Signify" and its live companion "Coma Divine". Steven Wilson wastes little dilly-dally in getting the message across in grand fashion hurling the oppressively brilliant "Even Less", a true PTree standard played at each of their concerts to this day. Yes ladies, it's that spectacular! A rushing riff pummeled forward by that steamroller rhythm section, some suave singing in that desperately apathetic voice and a miraculous guitar launch that exudes all the power and rage of social alienation. Great here, even greater live, I assure you! "Piano Lessons" has a pretty psychedelic Donovan quality to it , poppy weirdness allied with hushing beauty , a prog ballad with that unique British feel for the oblique, a groovy guitar fill decorating the whole. The title cut is very short electro blip and then we have the pastoral "Pure Narcotic" that hints at Anthony Phillips whilst fragile and whimsical, a good but not great track. "Slave Called Shiver" has that patented Colin Edwin-led bass groove that worms through the doom and gloom, pushing the plastic sonics and the jaded voice along. Tossing in a few Beatles-ish quotes ("More followers than Jesus Christ") and a lashing Wilson guitar rampage that devastates with impunity, the bass still rumbling audaciously, this is another classic and amazing live. In my opinion, this is way better than the poppier melancholics they like to mix into the stew. The monumental "Don't Hate Me" is another unparalleled PT jewel, a spacier mood with punchy drums, very arid at first only to better explode with a genius theme, a melody achingly painful , a wounded soul looking for some kind of empathy. The chorus is simply to die for, like a shining star in the cosmic universe, leading to a stunning Theo Travis flute and then sax solo, giving this a plethora of convulsive blush that wanders deep into the psyche. Amazing live as well! The next tracks can only pale in comparison, "This is no Rehearsal" being a jaunty issue with a wah-drenched axe solo that shivers and twitches. "Baby Dream in Cellophane" is very Fab Four reminding us that all Steve Wilson songs have a John Lennon tinge, lest we forget; forever flirting with the outskirts of breezy psychedelia. "Stranger by the Minute" is in the same vein, a solid melody on a simple carousel with some snazzy guitar solos and some smart lyrics. "A Smart Kid" is a somber tune floundering in minimalistic simplicity, Wilson's resonating and cool voice showcased as a weapon of sheer construction, different tones at will seemingly. The man can sing, heavy breathing and all but supplies a superb axe solo once again. The ominous "Tinto Brass" is a welcome return to the highway star riffery they do so well, Edwin buzzing intensely and Maitland pounding energetically, flute flutterings at 12 o'clock high and sibilant synths paving the way for some turbo-charged guitar slashes. Darn good music, this! "Stop Swimming" is another occasional live standard, a slow crawl build-up to a fabulous lyrical observation, hurting words and sorrowful souls collide in obvious copulation, hungry for another embrace. The notable instrumental restraint is utterly indescribable, synth heavy and impenetrable, the forlorn voice doing all the damage until the inevitable scream bellows from the inner self, an uncontrolled vortex of upward spiraling harmony. The only thing I cannot fathom with Wilson is why is there only one DVD of their live experience out there? Is he like Fripp when it comes to cameras in a concert hall, or what? 4.5 Idiotic delusions

Nil Recurring is an EP release by UK progressive rock act Porcupine Tree. The four songs on the EP were written and recorded during the same sessions as the songs that ended up on the Fear of a Blank Planet (2007) album ( some parts were finished a bit later though). The band didn´t feel that the songs would fit on the album but they also felt that the four songs on the EP were too good not to released.

The 28 minute playing time means that there is lots of quantity for the money and after listening to Nil Recurring the conclusion is that there is lots of quality as well. All four songs could easily have fit on Fear of a Blank Planet IMO. High quality songs in the typical alternative rock/ psychadelic rock/ progressive rock ( and slightly metal) style of latter day Porcupine Tree. The title track is a great instrumental while the three other songs have vocals. All very high quality tracks.

The production is naturally similar to the production on Fear of a Blank Planet which means that it´s a bit more organic than the production on the last couple of albums.

If you enjoy In absentia (2002), Deadwing (2005) and Fear of a Blank Planet , this EP is mandatory listening IMO. A 4 star rating is well deserved.

When I joined up with this joint over three and a half years ago one of the first new-to-me bands I discovered was Porcupine Tree and for that I am grateful because their bold creativity has gone a long way in restoring my faith in the future of prog rock. In a nutshell, founder Steven Wilson and his cohorts make the kind of music that pushes all my buttons. I collected almost their entire catalogue of recordings and enjoyed hearing how they evolved over time into being what I consider the modern vanguard of the genre. In fact, I deem their pristine "Fear of a Blank Planet" to be the best album of the decade. No joke. That brilliant CD is the most poignant and brutally honest portrait of late adolescence/teenage angst and apathy since The Who's phenomenal "Quadrophenia" and the enveloping music is flawless. With that lofty assessment in mind, I'd lowered my expectations for "The Incident" simply because I didn't think it possible for them to equal their masterpiece and I was correct. They didn't. But they came damned close, delivering everything I love about this group without taking for granted or forsaking the unique characteristics that make them the force of nature they are. They're still growing. They're still exploring their unlimited potential.

The opener, "Occam's Razor," sounds like a massive, disgruntled upstairs tenant stomping on the floor of his flat, raining ceiling plaster down on our heads. Except it's God Almighty and he's had it up to here with the confused, vile melee going on below his peaceful heavenly abode. He pauses, stomps again, then broods while waiting for a response. To His disgust, mankind answers with more of the same old immoral crap in "The Blind House." The band hits it hard with Gavin Harrison's ferocious drums leading the charge as the group expertly employs their trademark manipulation of both light and heavy motifs to create magic. Steven's naked lyrics never fail to connect the dots and here he exposes the mind-control methods of the perverted monsters that quarantine their flock and cloak the sin of their unconscionable rape of the innocents beneath their ugly, unsanctified pastoral posturing. "Pray and violate/abuse your trust/false gods must/purge their lust/a family that lies/to seal your fate/to take the weight/of their self-hate," Wilson sings. At one point the song drifts into a sort of cosmic waiting room but God's indignation at the end is as violent and harsh as His inescapable justice. That gem is followed by "Great Expectations," a short burst full of the romantic PT approach that I can't ignore. It's also a preview of the mosaic pattern of presentation this album will adhere itself to. Essentially it's just a simple tune and I admire the self-restraint they impose by opting not to stretch it out into something it ain't.

"Kneel and Disconnect" is a somber piano, acoustic guitar and three-part harmony piece that bemoans the drudgery of a life lost in the futility of the human obsession with finding a fulfilling "career." For the lengthier "Drawing the Line" Gavin's finely-tuned tubs create a smooth, rolling sensation on the verses that stands in stark contrast to the stringent edge presented in the chorus and the swaying guitar solo is effectively disorienting. The words portray a man who has been under the thumb of the devil far too long and is finally taking back his soul. "Recording all my problems onto memory cards/your compassion unmoved/unto others what they always do to you/the most twisted of your rules," Steven rails in exasperation. They segue seamlessly into "The Incident," where a viscous, undulating synth groove sucks you into its irresistible tow and a sinister aura builds steadily up to Harrison's striking entrance. One of the many charms of this group is how they toss in a healthy dose of metal at just the right juncture to press their point home and they do that here to emphasize words describing the protagonist's panic at finding out what a sick puppy he's become. "When a car crash gets you off/you've lost your grip," he confesses. Later on the dark skies lighten a bit and the music becomes almost uplifting as he ponders the idea that all his gruesome neuroses stem from his desperate, narcissistic need to be loved and he repeats that revelation like a mantra. It's the cornerstone of the CD in more ways than one.

"Your Unpleasant Family" is a small ditty of passing importance but it's an example of how Steven shares his ordinary yet relatable thoughts and his slashing slide guitar work provides a nice change of scenery. The instrumental "The Yellow Windows of the Evening Train" emits a dense beauty not unlike a Monet painting as eerie synthesized voices appear in the aural mist like ghosts. Severely strummed acoustic guitars give "Time Flies" a driving urgency and by the time the full ensemble jumps in on the second verse to broaden the song's scope you're hooked like a marlin. Wilson's David Gilmore-ish bright- as-a-beacon descending guitar chords are spectacular and the floating instrumental break is contemplative and patient. The wicked guitar ride that ensues festers like doubt before it explodes in a fit of rage and frustration and at the tune's end the fragmented notes linger, suspended in air like afterthoughts. Steven has learned what everyone who crosses the threshold of 30 finds out in that "after a while you realize that time flies/and the best thing that you can do/is take whatever comes to you/'cause time flies," he admits. No one escapes the ticking of the clock, not even rock stars. In "Degree Zero of Liberty" God has been roused from His serene rest by our rude goings on once again and He throws another room-shaking tantrum to remind us that He's the ultimate landlord and He can evict us at any time if we dare push Him too far.

"Octane Twisted" has the signature PT melancholy, dreamlike texture that leads to a strong metallic interlude in which Gavin displays his ability to dominate and astonish with his amazing technique. It contains a great line that plunges to the heart of many a progger: "Give me something new, please, something I can love," he croons. "The Séance" is an extension of the previous number's spooky vibe but it's also a subdued roadside rest stop of reflection that culminates in a wall of terse acoustic guitars. "Circle of Manias" is an all-out foray into their metal wardrobe as they take you on an exhilarating ride that makes even this aging geezer bang his noggin. Disc 1's finale is its crowning jewel, the enthralling "I Drive the Hearse." On most of their albums there are always a few songs that are extraordinary and this is definitely of that ilk. It's awesomely arranged and performed, Wilson bares his soul in the remorseful lyrics and the song's gradual evaporation at the end is suitably deep and dramatic, thanks in no small part to bassist Colin Edwin's complimentary bass lines. "Silence is another way of saying what I want to say/and lying is another way of hoping it will go away/and you were always my mistake," Steven laments. The older you get the more likely it will be that you'll feel exactly the same about someone in your past. This tune is gorgeous.

Disc 2 is different in a sense because it's more of a combined group-writing effort but there's no dip in quality at all. "Flicker" owns a hypnotic feel that flows like a stream and it's one of those cuts that warrants careful attention being given to what's going on in the background. The musicianship is mind-boggling. The Ecclesiastically-inspired words are excellent, too. "Nothing is new here underneath the sun/all of the big new charlatans will sneer at us/barely a flicker of the light to come/only the people who always think they know best," Wilson intones, knowing they can't please everybody. On "Bonnie the Cat" we get a glimpse into the decidedly creepier corners of their psyche. Gavin's flaming footwork flabbergasts throughout and they all indulge freely in some intense molten metal exercises that'll singe your eyebrows. Keyboard man Richard Barbieri supplies the electric piano- heavy score for "Black Dahlia" and Wilson penned the lyrics for this low-key but lovely air of introspection. Again he draws on Solomon for wisdom. "There's nothing here for you under the sun/there's nothing new to do, it's all been done/so put your faith in another place," he sings. The album closer, "Remember Me Lover," is an instance of this talented band transcending even my high expectations. It's a magnificent composition containing a tapestry of varied textures and hues as well as a blend of hard and soft passions that thoroughly satisfies the prog mammal in me. I love no-holds-barred lyrics about relationships and Steven outdoes himself here with lines like "I didn't wanna feel like a slave to your mood swings/and I'm not saying anything I wouldn't say behind your back," he warbles without a trace of shame. They leave you with a devastatingly fierce coda that leads right up to the brink of a bottomless abyss. Yeah, boy, they wowed me again.

Obviously, I'm an unabashed PT fanman. I admit it. They deliver the brand of groceries that keep me alive and invigorated. If you don't care for what they've done since the millennium then you should skip this and save your lettuce. On the other hand, if you still spin "FOABP," "In Absentia" and "Deadwing" on a regular basis I then you'll be delighted with what they've produced here, as well. I get turned on by most everything they do from the pristine drum tracks to the gargantuan guitars to the thought-provoking lyrics and topical themes Wilson deals openly with. They haven't let me down yet. So how does a band follow up the album of the decade? With the album of the year, that's how. 4.6 stars.

Deadwing is Porcupine Tree's ninth studio album and continues in the heavier direction the band took with In Absentia. The album is based on a film script written by lead singer, producer and composer Steven Wilson and a friend of his, Mike Bennion. The album opener and title song starts off with some mellow, pulsating sounds with a certain urgency to them, after which the guitars break loose. Interesting chord progression and some quite aggressive riffing follow, supported by Opeth's Mikael Åkerfeldt's vocals, eventually ending in a very technical guitar solo. What's not to like? Well; the song lasts for 9 minutes and 46 seconds, and in my opinion it's just two minutes too long. While the aggression, bass playing and chord progression are interesting at the start, they get rather tiring after five minutes or so, and there isn't much variation in the vocals either. The ending solo is very impressive though, so it's worth listening this song from beginning to end.

The second song on the album, Shallow, has the perfect title. Wilson himself has stated that Shallow was "the closest to a big dumb rock song we've ever done", and he hit the nail right on the head ? it's a big dumb heavy rock song, which explains perfectly why I dislike it. This isn't progressive rock, it's just something the Foo Fighters could've come up with and it wouldn't sound much worse. I always skip this song because it just doesn't compare to the rest of the album at all. The playing is flawless as expected but the song is monotone and very uninteresting to me.

Lazarus is completely different from the first two songs ? instead of an aggressive rock song, it's a poppy ballad with beautiful, fragile piano playing. This song was the European single for this album (while Shallow was the American one) which is sort of interesting, because as good as it is, it does not represent Porcupine Tree's sound at all. I really do like this song though, it's very pretty.

The fourth song, Halo, has heavily distorted vocals and rather strange lyrics ("God is on the cellphone") but is extremely catchy. The vocals fit strangely well in this divinely haunted piece. The song has alternating spacey and heavy parts but it sounds more like an alternative rock song than prog rock. I suppose this song is all right; it doesn't really do much for me, but nor does it annoy me in any way.

Up fifth is the epic song of the album, Arriving Somewhere But Not Here. This piece is by far the best and most impressive song on the album. It's easily among the best songs PT have made. Arriving Somewhere starts off with a minute of strange sounds, immediately setting the atmosphere for the rest of the song. Listening to this you can actually imagine yourself travelling through a forest at twilight; the cover art really fits with this song. The atmosphere is indescribable and powerful. One of my favourite songs by PT and the musical and lyrical peak of this album!

Next is Mellotron Scratch. At first I didn't like this song much, though it has grown on me slightly. The song has lots of acoustic guitar sounds and spacey parts. The beginning of this song is quite boring but it changes styles halfway through and becomes heavier and more powerful. This second part is quite enjoyable. The seventh song on the album is Open Car, a somewhat tormented song that isn't bad but I don't find it particularly interesting (and the lyrics are pretty bad).

The Start of Something Beautiful is, to me, the second best song on the album. The acoustic beginning isn't too great but when the guitar riffs start, followed by piano and organ, the song gets much more interesting. The ending of this song gives me goose bumps, it's simply fantastic. The Start of Something Beautiful is second only to Arriving Somewhere on this album and a very worthwhile listen.

The closer is Glass Arm Shattering. This is a very quiet, dreamy song which many people on this site seem to love, but I find it terribly boring and a huge anticlimax after the perfect ending of the previous amazing song. Vocals are nothing special, musical ideas aren't interesting? just a bad ending to an otherwise fine record.

I rate this album three stars. If all the material were on the level of Arriving Somewhere this would be a masterpiece, but the quality of the songs is quite inconsistent and there's a bit too much alternative rock and too little prog here for me. Despite this, the album is definitely worth buying and listening. It's good, but if you're going to buy one album first, get In Absentia or Fear of a Blank Planet.

Three stars might seem severe considering the average score for this album but it's how I see it: good but non-essential. On the plus side, the sound quality needs to be mentioned. I'm a big fan of live albums as long as the sound quality is fine and that's certainly the case here. On the minus side Coma Divine, although pleasant to listen, didn't give me lots of thrills. Do not expect the In Absentia and forward style. This is much smoother and hooks are absent, at least for me.

Another aspect that future listeners should notice, many songs are instrumental and even in the non-instrumental ones, voices are scarce. This is probably one of the reasons why I feel this album has the same mood from start to finish.

All in all a good album that ages well (and that's not always the case) but if you're a fan of newer and heavier PT albums be noticed that this is different music.

Phil

Obviously it's a personal review and others might disagree?

Oh, how I love to see the variation of ratings this album has gotten thus far. It means that it's different enough from the band's usual output to divide a fanbase. As far as I'm concerned, that is a good thing!

So, what is THE INCIDENT? Well, if you look at it from my perspective, it's Steven WIlson's first attempt in years to venture back into actual 'Prog' territory. What I mean by that is simple: it's not ''In Absentia''. And no matter how loud some PT fans may howl, there never will be another album like ''In Absentia''. The best thing for us to do is move on along with the band, so that we won't be disappointed by any of their efforts post-2002. I was guilty of not doing that with ''Deadwing'', but have since found a new liking for it than my initial reaction. I think in time, the same will be said of many of the reviewers who have given this album a extra-low score. Right now they hate it, because it isn't what they wanted. Notice nobody actually says the album isn't any good; they justify their brutal ratings by saying that while the album is good, it isn't 'Porcupine Tree good'. In other words, THE INCIDENT isn't up to the Porcupine Tree's usual standards. Well, shouldn't that be up to Porcupine Tree?

And of course on the opposite end of the spectrum, there are people handing out five-star ratings like candy where this album is concerned. I don't think anybody who would actually sit down and think about it could agree with this analogy, either. The truth of the matter is that THE INCIDENT is good. It's not great, and it's not horrible. It's just . . . good. I would say it boarders on being simply 'decent' at times, but still has enough redeeming qualities to keep it in the 'good' range. The reason why I do not rush to my computer right away to write a review of something is because I want to make sure I have heard the music enough times in order to truly give an accurate, unbiased review. I think by this point, a few months into the release of THE INCIDENT, I am prepared to do just that.

As I said before, this album is a return to form for Steven Wilson. For years (arguably ever since ''Stupid Dream'') he has written and performed music that has leaned much more in the 'Alt. Rock' direction than 'Prog Rock'. Many Prog bands have attempted to go 'pop', and failed. Luckily, Wilson is a good enough composer to evade most pitfalls others have fallen into. Indeed, even when at his most modern and accessible, he still manages to add a flare of originality to his work that many musicians (including myself) are deeply envious of. The band's first commercial 'hit' of sorts was ''In Absentia'', and to this day it still remains my favorite Porcupine Tree record. It manages to capture my spirit and lift me up into deeply emotional places despite being full of commercial aspects. At its heart, this project will always be progressive and original, and that I think makes all the difference.

However, with THE INCIDENT, Wilson and crew have taken a step back into their Prog roots and decided to write an epic that spans the length of an entire compact disc. Accompanying the piece is a second disc full of more traditional rock songs in the vein of ''Deadwing'' or ''Fear of a Blank Planet''. So half the set is an attempt to reach out to the Prog side of the fanbase, and the other half will appeal to the more recent fans who have only just begun to discover Porcupine Tree's music. At least, that's how it seems to have been planned. I don't necessarily think it was always successful, but for the most part, it delivers at what it was trying to do, I think.

The title track, the 'epic' that everyone is so divided about, is really a collection of anecdotal lyrics which at first do not seem to be interconnected at all. This album is much less lyrically-driven than past efforts, and I suppose it was a nice change of pace. Still, I would have preferred another concept record with an actual narrative, but again, that's my ''In Absentia'' fandom creeping in where it doesn't belong. The songwriting is good, and the musicianship solid, as is the case with nearly every PT album, but what I was disappointed to discover at first was how empty this record is. What I mean is . . . there is a lot less substance than what you may expect.

Breaking it down, I would say three or four movements from ''The Incident'' actually stand out to me as something special. The opening, ''Occam's razor'', is rather weak, as is the section of the piece bearing the same title as the album. Both songs feel as if they are completely unrelated to each other, and both also seem to missing a lot of actual music, with dead space and background noise filling up huge gaps at a time. This CAN be interesting when done sparingly, but it happens so frequently throughout the whole thing that I began to feel drained after awhile of not hearing any real music. Sadly, this feeling still hits me no matter how many times I revisit ''The Incident'', and so I suppose it will always bother me a bit. But i did give it a chance to grow on me. Sometimes I just can't be swayed from my initial impressions of things.

That's not to say the piece as a whole isn't any good. Plenty of fine musical moment highlight and immortalize this album for me in many ways. I'm not like some of other reviewers here who couldn't point to a certain moment that affected them. For me, some points such as ''Time Flies'', which comes at the halfway point of the whole epic, really touch me emotionally. I mean, it's a clear rip-off of the ''Animals'' record by Pink Floyd, but it sure as hell beats all that moody, noise-rock crap that seems so ever-present on this particular outing. Sometimes a little familiarity can be refreshing. Especially in situations like this one.

Another really cool, groovy moment for me that I could listen to for hours is the ''Octane Twisted'' - ''Circle of Manias'' section. It rises, falls, then rises again to an entrancing, heavy guitar groove that puts me in mind of Meshuggah. The Tree also did this on their last full-blown studio effort, ''Fear of a Blank Planet'' during the ''Anesthetize'' track, and I had the same reaction then. I just love music that can lock in to a particular riff for long periods of time, yet also keep the listener enthralled without boring. So yes, that whole section of ''The Incident'' I also love.

Finally, the soft, melodic ''I Drive The Hearse'' that immediately follows the section I just described. It's probably my favorite part on the whole record. Somebody else already said described it as 'weak', and I am inclined to fear for that person's mental health, because I find it to be a compelling, lovely piece of music. But, to each his own, I suppose. Frankly, the only way somebody could find this song 'weak' is if they only like listening to overly-technical, pretentious jive. ''I Drive The Hearse'' certainly isn't that. It's very calm and laid back. A nice contrast to the aggressive groove-metal-inspired section that preceeded it, really. That's why I did not include it in my last paragraph, even though it follows immediately after track-wise. It feels like a completely different song, and really not part of the rest of the piece at all.

Something also brought up that I do not agree with is that nothing ever feels connected in this piece. While the long pauses and lack of instrumentation for those long bouts I described can indeed cause the song to feel disjointed, I do hear moments where previous melodies are revisited, and that is enough to make me feel the the piece flows better than others would have you believe in their reviews.

As a whole piece, ''The Incident'' works well enough to please fans, but newcomers will more often than not be turned away by the track's length, and as for whether or not it succeeded at being 'Prog', well . . . again, some people may not think so, but I don't care what 'style' you want to group this into; the bottom line is that the concept is very progressive, You won't see Nickleback doing a 55-minute track any time soon. Get my point?

Now, for the second disc. The remainder of the songs, with the exception of ''Flicker'', feel like throwaways, and I wonder why PT even bothered including this other disc, except for maybe they wanted to add some variety, and also these songs had more input from the rest of the band. Unfortunately, it shows.

Any time Steve Wilson stops captaining the ship that is Porcupine Tree, nothing fits musically. You've got ''Bonnie the Cat'', which is a very good track for the most part, but it's very jarring and disorienting at first, not to mention there is a guitar riff in there that is exactly the same as the chorus is Opeth's ''Ghost Reveries''. It rocks, but it's already been done before. That's a Dream Theater move, Steve, and you've done it twice in one album. Very unfortunate.

As I said, I really enjoyed ''Flicker'', and despite the obvious lack of direction, ''Bonnie'' is good. The remaining two tracks aren't much to write home about, though. ''Black Dahlia'' has its moments, but for the most part will rapidly fall down my list of favorite PT tracks, and as for ''Remember Me Lover'', well . . . I don't really remember it.

So there you have it. A good long track, two good single tracks and two forgettable ones. Not anywhere near a 'two out of five', but certainly not a 'five'. I think some people here are being much too harsh simply because they had incorrect expectations. At the same time, I can't believe how many people are considering it a 'masterpiece of progressive music' when it is so clearly not.

As for me, I give it a solid three. It's good, but not great. If you're a fan already, you'll like it, as long as you keep an open mind. Everybody else might have a harder time wading through the murk just so they can enjoy the few brilliant parts spread throughout the record.