IN ABSENTIA

In many ways, 'In Absentia' is Porcupine Tree's most important album - the band's major label debut also happens to be a cult classic and a musically groundbreaking release, marking a significant new episode in the history of contemporary progressive rock, with the group embarking on a journey that sees them exploring heavier sounds, while playing around with electronic instruments, psychedelic soundscapes, and alt-rock riffing. All of this indicates that we can speak of a post-Radiohead variation of the alternative genre, in a way even post-progressive, with Porcupine Tree only emanating a King Crimson-esque sophistication of their sound, which comes along with a potent, hard-hitting and emotionally pertinent style of songwriting, developed by Wilson over the course of decades while working with No-Man, as Bass Communion, or as an underground psychedelic rock explorer during the nineties. Of course, 'In Absentia' is the first album on which Porcupine Tree abandon that psychedelic pedigree and dare to boldly move on with confidence in the new century.

The muscular guitar tones and the flashy riffing become central to this album's architecture, and with an apparently strong influence from extreme metal acts such as Opeth, Meshuggah, and even experimental metal outfit Tool, there is a lot to unpack from the twelve-track album that plays for a little more than an hour's time. This record is also significant for marking the first appearance of drummer extraordinaire Gavin Harrison, originally a fusion player who has been said to have impacted the music strongly, with his masterful, groovy yet expansive playing and intelligent fills. Of course, then comes the role of Richard Barbieri, here occupying an interesting spot in providing various sounds and effects and adding his own personal flavor when necessary, which often comes in the form of gloomy, synth-ridden ambient tones - subtle, minimal, but brilliant and an essential accessory to the music. Same goes for bassist Colin Edwin who also does a fantastic job on the album, his playing is precise and really upfront.

And then amidst all that, the crumbling eclecticism of the album reveals itself as each one of the twelve album tracks unfolds itself before the listener - in-between the quirky alt-rock hooks and memorable choruses, Porcupine Tree experiment with song structures, moods and tempos shifts, and uncommon time signatures, offering an uncompromising collection of killer songs that indicate just how relentless this band can be as well as the sheer consistency and emotive quality of Steven Wilson's songwriting, the mastermind behind this contemporary classic. Thematically, 'In Absentia' is a rather dark album, which is in line with this renewed direction for the band, as Wilson discusses a lot of serial killers and the psychology behind their actions, together with themes relating to death, love, melancholy and profound grief. Memorable numbers like 'Trains' and 'The Sound of Muzak' give us a glimpse of the commercial capacity of the band, while lesser-known tracks like the moody and ominous 'Gravity Eyelids' and 'Heartattack in a Layby', or the funky and aggressive numbers 'The Creator Has a Mastertape' and 'Strip the Soul' offer a punchy, raw and invigorated intensity that could only be compared to some of the most novel prog metal acts of the early 2000s. Other marvelous songs on here include the instrumental 'Wedding Nails' and the mini-suite formed by 'Prodigal' and '.3', while some special editions of the album feature no less fascinating Porcupine Tree numbers like 'Chloroform', 'Drown With Me', and 'Futile'. Just an incredibly rich, rewarding and immensely influential work; a rock album that in many ways defies categorizations, despite the fact that it virtually inspired an entire movement in progressive rock - or simply put, an all-time Steven Wilson masterpiece.

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