DEADWING

In 2004, Porcupine Tree released Deadwing, a concept album based on a screenplay written by Steven Wilson and a filmmaker friend. (As of January 2019?the most recent update?the screenplay is still being retooled.) Deadwing demonstrated a fuller integration of the band's metal influences while still retaining a significant portion of the prog-pop character of their last few releases.

The title track opens this album. Its backbone of pulsing synths and a galloping rhythm section drive it forward with greater speed than most of the band's prior output. Wonky, death metal-inspired riffage augments the lighter guitar parts of the verses and Richard Barbieri's keys. This song also features an early instance of Steven Wilson's signature use of slightly-distorted vocals which sound as if they're coming through a radio or telephone.

"Shallow" feels something like this album's attempt at another "Blackest Eyes". There's a big, memorable metal riff coupled with a catchy, folk-inflected chorus.

"Arriving Somewhere but Not Here" is one of Porcupine Tree's all-time high points. This 12-minute track builds organically from burbling synthesizers to its acoustic first verses to its first guitar solo. The rhythm section provides powerful energy, but Wilson's mournful guitar lines act as a foil, imbuing a heavy dose of sadness. When the metal comes in at the halfway point, it feels like a logical progression as it ups the intensity.

As is expected, there are calmer moments on Deadwing. "Lazarus" is a delicate ballad with a strong melody. "Mellotron Scratch" moves along at a deliberate tempo, and the Mellotron choir and flute add to this song's dreamy atmosphere. It also features some of Wilson's best vocal arrangements. The closing "Glass Arm Shattering" is another pretty, lush song that takes its time and acts as an apt end to the record.

Review originally posted here: theeliteextremophile.com/2019/11/24/deep-dive-porcupine-tree-steven-wilson/