TARQUIN'S SEAWEED FARM

This will be a very short review. In fact every trak that not appears in "on the sunday of life" album is in "Yellow Hedgerow Dreamscape", so maybe someone could ask why listen to this early K7? There's just one reason, this is the original work, the traks follows as Steven Wilson conceived the work and it's a good reason. YHD it's nothing else that a compilation but Tarquin Seaweed Farm isn't it. So just a last word on the tracklist. For lovers of real psychedelic sound there are two masterpieces: No reason to live no reason to die, one of best tracks ever of PT 11 minutes of pure hypnotic sound and YHD in the first version, maybe little ingenuous but great! Don't try to find this K7 in a store, search for it on the net or ask to a friend, the k7 is deleted so there's not commercial way to have it.

Alex -- I apologize for my bad english, but I'm too lazy to improove it :-)

Ok, i'm going to do this review as I listen to the record, and am going to split it up into three parts, the pre-listen, the listen, and the post-listen.

Pre-listen: Ok, so I already know some of the tracks due to me owning On the Sunday Of Life... and I somewhat know that album well. The only difference on those tracks are lower quality (from what I have read about it). What I am most interested in hearing is how the tracks flow into one another in this track listing, and the songs not on OtSOL. Songs on OtSOL: Tracks 1,2,3,4,5,6,7,8 (3 renamed Third Eye Surfer, 4/5 renamed On the Sunday Of Life...)

Listen:

1. Music for the Head - Here: Cool intro, fade in flute solo. Keys in the background. Very nice opener, sets the mood for a trippy listening experience.

2. Jupiter Island: This song just takes off with the drums, great contrast to the last track. Very nice, charming melody. Very repetitive vocal, but it's a nice melody. Chorus is nice and simple, great sounding harmony. Odd ending. Good song overall, but I would like a little more variation.

3. Nun's Cleavage - Left: This song is just weird. Keyboard solo/Drum solo at the same time. This makes no sense. Great for a tape like this though, very trippy and odd. The drum solo is pretty cool too. Not too much of a song, just random stuff to me. Good, but I would have liked a little more direction in the song.

4. Clarinet Vignette: Cool solo, nice fade from last track. A very good, short instrumental.

5. Nun's Cleavage - Right: More drum solo. This is just the same thing as the "left" section of this song. Although the drums are more of the centerpiece of this than the "left" section

6. Space Transmission: This is a scary track. Works for a trippy experience like this one (the entire tape being the "experience"). Interesting story. Not really a song, just spoken word. I think this is a pretty cool track though.

7. Message from a Self-Destructing Turnip: Just a weird filler track to me. Doesn't really serve any purpose except to throw you off when Radioactive Toy randomly starts.

8. Radioactive Toy: Great floydish song. My favorite off the tape. The simplicity of this song makes it work. The guitar work is truly amazing on both of the solos. The drum fills sound really great for this song. Great ending, nice ambient sounds. Amazing song.

9. Towel: This song starts as pure WTF. The drums are so weird. Then the bass and acoustic guitar come it and make it sound, well, nice. Very nice instrumental song, it is nice to listen to once you get past the odd intro. This is one that I wish was a bit longer. Another of my favorites on the tape.

10. Wastecoat: Another weird filler song. I don't even really know whats going on in it. Its just noise really, but its done in a cool way. Only listen to this when listening to the full tape.

11. Mute: Trippy intro, more noise. Nice melody when the song really starts. Cool riff, great start. There are a few weird moments were voices take over. But there are quite a few great solos on different instruments. Another great instrumental, this is one that you should never skip over. One more favorite.

12. Music for the Head - There: Another solo, very much similar to the first track (I guess why they have nearly the same name).

13. No Reason to Live, No Reason to Die: Fade in drum/keys intro. Another good melody, nice start. Cool guitar solo, very long. This seems to be just a pure improv track, perfect for old PT (or in this case old Steven Wilson). Nice sounding instrumental. It seems that the instrumentals are the best parts of Tarquin's Seaweed Farm. The only drawback is that it feels a little bit too long.

14. Daughters in Excess: Again, this song starts with a fade in, psychedelic, noise intro. A nice bass line comes in soon after though. This songs kicks in with a sick drum beat and nice guitar noise solo over that. Very repetitive, non-stop drum beat. Nice trip-out song, but its a bit boring after a while.

15. The Cross / Hole / Yellow Hedgerow Dreamscape: Nice guitar intro solo, nice sounding intro to a song. Beautiful intro, great song. Nice sounding track (The Cross). Great guitar solo. Very long, kind of dragged out and boring after a while. Next up is the acoustic section, with a very pretty solo. Sweet drum/guitar/ambience intro to, i'm assuming, Yellow Hedgerow Dreamscape. This feels like a Pink Floyd song. It's very hypnotic. A great psychedelic track, very well executed with all of the spoken word parts introducing the fake band led by the fictional Porcupine Tree. Yellow Hedgerow Dreamscape is a great song, most of which, after the spoken word section, is a guitar solo. The transition from The Cross to Yellow Hedgerow Dreamscape was done extremely well. Overall, this is a very nice track, and one of the highlights of the album (Yellow Hedgerow Dreamscape, not so much The Cross). This is the perfect ending track.

Post-Listen:

Amazing Tracks: Radioactive Toy, Towel, Mute, Yellow Hedgerow Dreamscape

Good Tracks: Jupiter Island, No Reason to Live, No Reason to Die

Not So Good Tracks: Message From a Self-Destructing Turnip, Wastecoat.

This album provides a great psychedelic experience, and even the not so good tracks are great when listening to the full album. The only problem the grading. If you were to look through this to find singles, and songs to skip through, you would skip most of it. This was made (even more than latter PT releases) to listen through without skipping any songs. Thats what makes this much more fun to listen to, don't skip any songs.

Overall:4/5 Great songs here and there, but some boring moments (that should have been cut shorter) were in there, and that brought the grade down.

Tarquin's Seaweed Farm, subtitled "Words from a Hessian Dack", is the first album by Porcupine Tree realeased in 1989 however at this time Porcupine Tree was only a joke band created by Steven Wilson and his friend Malcolm Stocks. The release was only available to a few people at the time and was later released by Delerium Records in 1991 in a limited edition of 300 copies.

Tracks from this and together with the album The Nostalgia Factory went into the album On The Sunday Of Life... which is considered to Porcupine Tree's first true album.

Let's begin with the fictious credits listed as the Tripping Musicians Extraordinaire:

The Porcupine Tree - Acoustic Guitar, Electric Guitar, Flute, Koto and Sings

Sir Tarquin Underspoon - Organ, Electric Piano, Synthesisers and Sings

Mr Jelly - Bass Guitar

The Expanding Flan - Drums, Percussion, Drum Computer and Speaks

Timothy Tadpole-Jones - Acoustic Guitar, Percussion

Sebastian Tweetle - Blampton III operates the delay circuits and mixing desk

Solomon St. Jemain - Guitar on 'Wastecoat', Drum Computer on 'Towel' and speaks

Master Timothy Masters - Oboe, Cor Anglais

Linton Samuel Dawson operates the light show

I really like the list showing a slightly humerous side to Steven Wilson around the time he left school.

1) Music for the Head (Here) - This is the instrumental intro that also begins On The Sunday Of Life...

2) Jupiter Island - This song was written by Steven Wilson and his friend Alan Duffy who he would later lose touch with on the release of On The Sunday Of Life... I do find that this song takes a few listens to get use to and i can seeing it becoming a hated track by some listeners.

3) Nun's Cleavage (Left) - This is the title for the track which would later be renamed Third Eye Surfer on the album On The Sunday Of Life...

4) Clarinet Vignette - This song was written by Wilson and Timothy Masters. This track along with Nun's Cleavage (Right) would later be renamed the title track of the album On The Sunday Of Life...

5) Nun's Cleavage (Right) - Tracks 3, 4 & 5 all use a drum solo from a track on Soft Machine's Six album which i added a short section of information to my review of On The Sunday Of Life...

6) Space Transmission - This is a monologue rather than a song and there is not much more information i can give about it that i haven't already listed in the OTSOL album review.

7) Message From A Self-Destructing Turnip - This track again is an add on to the monologue of the previous track and for me has a more crazier title than the album.

8) Radioactive Toy - This song would later become a fan favourite however the mix of this track on this album in my opinion is only half as good and half as long as the one that people would become familiar with on the OTSOL album.

9) Towel - This a track which would not make onto the album OTSOL. The drum machine is apparent here though.

10) Wastecoat - This track again would not make it onto the cream of OTSOL.

11) Mute - This track is the longest so far on the album running at 8:07 which again does not make OTSOL. The track is more like an experimental soundscape with groans that gradually turns into a melody that is not unlike a track that you would find on one of Steven Wilson's side projects No-Man which at one time was his main project rather than Porcupine Tree because of its success. This version of the track is also an earlier mix.

12) Music for the Head (There) - This track like the first is a instrumental but rather an outro leading onto what was then when released, Side B.

13) No Reason to Live, No Reason to Die - This track is the first song to break the 10 minute mark on the album however that is understandable considering there are only 3 tracks on the Side B and no track from this side would make the onto the album OTSOL.

14) Daughters in Excess - My version of this track has bad sound quality at the beginning but slowly fades as the music begins however does not fade out completly. I presume that this happened when the track was being created on cassette. This is a track that i don't find enjoyable however i still run through it because i like to listen to the album as a whole and i rarely go through music picking out individual songs.

15) The Cross/Hole/Yellow Hedgerow Dreamscape - As you may well see from the title, this track is 3 songs together and totals to an epic 20:52 minutes. The song The Cross is a cover from Prince and Yellow Hedgerow Dreamscape would turn up on a later album with a different mix which i prefer.

In all because i am a Porcupine Tree fan i think this is an average album and only for dedicated fans. It is not an album that i go back to and if i do want to hear music from this period in Porcupine Tree's existence i usually go to the album of On The Sunday Of Life...

It's interesting to check out the very first works of a band, such as PT, that at the time was completely unknown, and now is considered one of the best progressive rock bands of the last twenty years. Before all that glory that we are all so familiar with, there was Tarquin's Seaweed Farm, Steven Wilson's first effort ever.

All of this material ( 15 songs!!!) would end up in different albums: The first 8 songs would eventually be part of the Steven Wilson's, aka Porcupine Tree, first studio album, "On The Sunday Of Life...", even though Wilson had to rename some tracks, and of course the music is the same. All the other songs would end up in the first compilation album of the band, "Yellow Hedgerow Dreamscape".

In the first part of the album, you would be already familiar with the songs, if you ever listened to the band's (pardon, Steven Wilson) debut album. Like I said, some songs in this K7 have a different title, and the song "Radioactive Toy" is much shorter than the version of "On The Sunday Of Life...". In the second part of the album, all the songs were never released in any studio album: "Towel" could have easily been a cut from OTSOL because of it's naive experimentation and of it's pretty nice melody. "Mute" is a great jam song, with a great but not so catchy melody, while "There Is No Reason To Live, No Reason To Die" and "Yellow Hedgerow Dreamscape" are real jam songs, 11 and 20 minutes of pure hallucinative moods. Not to forget "Daughters In Excess", probably the weirdest and creepiest song off the album, 6 minutes of musical delirium.

To sum up, definitely a great album, recommendable to all PT solid fans and to the "On A Sunday Of Life...." fans, even though I sadly notice that they aren't too many of them.

The story of Porcupine Tree's strange and unique first recording starts back a few years before the album was recorded. It all starts with Steven Wilson, of course, who, when he was 15 years old and the year was 1983. Wilson recorded some music along with Si Vockings on keyboard under the band name 'Altamont'. Alan Duffy, who ran Imaginary Records, sent Wilson some lyrics inspired by the love both of them had for Syd Barrett, and wondered if Wilson could provide the instrumental and music background for them. Wilson says that the music on Altamont's first album was really a compilation, two tracks from Duffy and two tracks that he (Wilson) recorded on his multi-tracking equipment in his own home along with Si. (Another album was released in 2002 that had more Altamont music on it that was originally improvised live onto cassette tape from 1983 ' 1985). Although there weren't too many copies made, there were a few tracks that actually got put onto sampler albums, and these tracks started the underground following that became Wilson's first fans.

There was also another band that Steven helped form along with 3 of his friends in school called 'Karma'. In October of 1983, this band released a demo tape called 'The Joke's on You' which features the original 15 minute version of 'Nine Cats' which became a popular Porcupine Tree song. It also contains the original version of 'Small Fish' another track that was used by Porcupine Tree. Another demo tape was made by this band in 1985 called 'The Last Man to Laugh'. The psychedelic music produced by Altamont and Karma was circulated in the London musical underground and these tapes were creating quite a name for Steven, so even that early, he was on his way.

Finally, in 1987, Wilson formed two projects. One of these is the well-known 'No-man' who he formed with Tim Bowness and Ben Coleman as an art-rock trio, who, in the early years, remixed many of their songs to make them usable in dance clubs. The 2nd project he formed was done as a joke, or fake band, known as Porcupine Tree. Steven and a friend of his created a fictional band made up of non-existent band members with ridiculous names and backstories. The band was supposed to be a fake, legendary seventies psychedelic band. To back up this story, Steven recorded music and compiled it onto a cassette known as 'Tarquin's Seaweed Farm' and a 2nd one known as 'The Nostalgia Factory'. Copies of these tapes were sent out to various people, including the magazine 'Freakbeat' which was run by an individual who was setting up a record company. A few tracks were used on some compilation tapes and that sparked even more interest in the London underground.

Steven continued to distribute these two tapes while the record company was being formed. He was eventually invited to be the first artist signed to one of the labels (Delerium) and they wanted to release the two Porcupine Tree cassettes on 2 different double albums. Wilson decided instead to compile what he felt were the best tracks and released what would become known as 'On the Sunday of Life'. That would become PT's first original album. The remainder of the material from these first two cassettes would eventually be released on the collection called 'Yellow Hedgerow Dreamscape'. Both of these albums would be remastered and a lot of the music from YHD would be re-recorded.

So, there you have a brief history of the beginnings of Porcupine Tree, who would become one of the most influential and important progressive rock bands to arrive in more recent years. This review is for the first demo tape called 'Tanquin's Seaweed Farm' also sub-titled 'Words from a Hessian Sack'. This was originally an 80 minute tape released with a booklet of fake information about the band. It was reissued by Delerium in 1991 with a limited run of 300 copies. All of the tracks were performed by Steven Wilson (so in actuality, it is a Wilson solo album). The tracks were also all written by Wilson except for 'Jupiter Island' which was cowritten by Alan Duffy, 'Clarinet Vignette' cowritten by Tim Matthews and 'The Cross' which was written by Prince.

Side A of the tape is supposedly all studio recordings while Side B is the live recordings. Side A consists of mostly psychedelic music inspired by those bands from the 70's. Many of the songs from side A are on 'On the Sunday of Life' (hereafter abbreviated as OtSoL) which can still be found quite easily. There are a few of the titles that are changed, but most of the music remains the same. Starting with 'Music for the Head (Here)' we get a psychedelic instrumental introduction to the album. It is minimalistic and it creates suspense for the following track. You get woodwind effects and sitar over sustained synth drones. This leads into 'Jupiter Island' which has a real 80's sound to it, upbeat with high speed vocals. It is said that Wilson didn't think his regular voice was good enough, so he had it sped up, and that is the case with most of his vocals on this album. The percussion is programmed, there are a lot of spacey effects and the vocals come in. There is a guitar solo on the instrumental break. The tune is pretty basic leaning towards space rock.

There is a slight difference in the naming of the tracks here between the original and OtSoL. On this album, the track is called 'Nun's Cleavage ' Left' while on OtSoL it is called 'Third Eye Surfer', but the music is the same. The track is another psychedelic instrumental with improvised percussion overlayered by synth improvisation and effects. The 2 tracks on the original are 'Clarinette Vignette' and 'Nun's Cleavage ' Right'. These two tracks were combined on OtSoL and renamed as 'On the Sunday of Life', but again, the music remains the same. The former track is more ambient with a lovely clarinet solo that eventually fades into more psychedelia of the latter track.

At this point, OtSoL places the title track from the 2nd album 'The Nostalia Factory' as the next track. After that, it returns to the same sequence as Tanquin's Seaweed Farm with the scary, yet funny satirical track 'Space Transmission'. This one has spoken word vocals that have been processed through synths and is a first person telling of a strange prisoner trapped by an even more evil entity. This should raise the short hairs on the back of your neck. After this, 'Message from a Self-Destructing Turnip' is a short and silly track.

At this point, both this album and OtSoL have the popular track 'Radioactive Toy', but the versions are quite different. 'Tanquin's Seaweed Farm' has the original version which is much shorter and missing the amazing guitar solo that is on OtSoL. So if you are looking specifically for that song, I would suggest getting OtSoL. If you are a collector interested in the original version, then you will want this album. The remaining tracks on Tarquin's Seaweed Farm are not on OtSoL, but most of them are on 'Yellow Hedgerow Dreamscape', but in slightly different versions. The remainder of the tracks on OtSoL are from 'The Nostalgia Factory'.

Most of the rest of the album is instrumental with a few sections with processed vocals. 'Towel' is the next track and it returns to instrumental psychedelia. This track is more guitar driven than previous instrumentals on this album. It is a bit more melodic with some wild percussion, at least up until the last 45 seconds when it gets quite haphazard sounding. 'Wastecoat' is more psychedelia with synthesized effects, warped and spacey sounds, very glitchy sounding. Finally, we come to a longer track at over 8 minutes, a mostly instrumental track called 'Mute'. Some very strange sounds start this off which sounds like it might have come off of The Residents 'Eskimo' album. Other than that, it has some ambient sounds with minimal drones and effects, some lovely synth improvisation and whatnot. It builds to a nice space rock style similar to the instrumentals on 'Up the Downstair' and 'The Sky Moves Sideways', so its very melodic and lovely, mostly produced by guitar. In the middle, the music fades needlessly into the background and the track gets ruined by some stupid spoken vocal effects. The music fades back in again later though. (The version of this track that appears on Yello Hedgerow Dreamscape is a different version than this one.) This side ends with another version of the beginning track this time called 'Music for the Head ' There' which is more psychedelia and ambience.

This is where Side B finally starts. There are only 3 tracks on this side, but they are all quite long. This is supposedly the Live part of the album, but I am pretty certain that the 'live' part is only pre-recorded crowd noises. This starts with the 11 minute track 'No Reason to Live, No Reason to Die'. This is pretty much an improvised instrumental music inspired by space rock and psychedelic bands with the guitar being the main instrument while everything else is support. The beat is moderately slow with synths playing sustained chords and notes. The keyboards help with improvisation later on and they alternate with the guitar for the lead instrument. As the track continues, the rhythm slowly picks up in tempo. Before you hit the 9 minute mark, the music becomes ambient and atmospheric for the remainder of the track. 'Daughters in Excess' is another psychedelic instrumental track lasting almost 7 minutes. It starts off minimal, but after a few minutes, it gets quite loud with screaming guitars and effects and wild percussion.

The final track is actually a combined track of 3 songs. 'The Cross' starts out the track which actually has vocals which were written by Prince (this is a cover). The 2nd part is called 'The Hole' and it is a short spoken word vocal that sounds like someone trying to get the crowd excited. This section is not available on any other compilation and is left off of Yellow Hedgerow Dreamscape, but you aren't really missing much as it is part of the original 'joke' of the fake band trying to get the crowd excited. The last section is called 'Yellow Hedgerow Dreamscape' and it makes up most of this 20 minute track. It is all instrumental and contains more space rock style music driven by the guitar. This finishes off the album.

This album will not appeal to a lot of people, unless they are already fans of Porcupine Tree. Remember, this is the band (or at least Steven Wilson) at the beginning of his career. It is not a recording you want to start out with if you are planning on exploring PT's discography. It is pretty much a document of where Steven's head was in the beginning and shows you where this amazing band started out. Nevertheless, for a young Steven Wilson, it is still somewhat astounding, especially considering that he taught himself how to play guitar and keyboards. If you are interested in this music, you would be better off searching for On the Sunday of Life and Yellow Hedgerow Dreamscape, as you will most likely not find this recording. If you must hear it, your best bet would be to try to find the recordings that are on You Tube, but be aware that those recordings are not always the originals.

Since I am a rabid Porcupine Tree fan, I find this recording to be very interesting and entertaining. It definitely is not my favorite by the band, not even close, but I enjoy it for the historical aspects and being able to hear Steven Wilson when he was starting out. I find a lot of gems on this recording, and, since I am kind of a purist when it comes to SW, I want to hear it in the order that it was originally intended, with the untouched recordings. So it is important to me. But, I got to keep this all subjective, so, the actual recording is obsolete as far as most of the public is concerned. But because SW is so talented, and there are a lot of treasures here, I have to at least give it 3 stars. But in reality, to me it means a lot more than it would to others. As far as the length of this review, I just had to get it out of my system and hopefully add some insight into the beginnings of this amazing artist, and maybe it will help others understand Porcupine Tree's early music and the growth of the band.

"Tarquin's Seaweed Farm" is the first studio release by UK artist Steven Wilson under the pseudonym of Porcupine Tree. The album was released through No Man's Land in January 1989. It´s a compilation of recordings from the mid-80 to 1988, and they were originally only released in a very limited number on cassette tape. Strict catalogizing would probably say this is the debut full-length studio album by Porcupine Tree, but it should probably be considered a demo album instead. Tracks 1 - 7 on the album and a re-recorded version of track number 8 "Radioactive Toy" would appear on "On The Sunday Of Life... (1992)" (the official debut full-length studio album by Porcupine Tree).

The material on the 15 track, 77:17 minutes long demo album is psychadelic rock at times strongly influenced by the early Pink Floyd releases. It´s an adventurous sonic journey from minimalistic ambience, to odd spoken word passages, to more regular sounding psychadelic space rock flows. Tracks like "Jupiter Island", "Radioactive Toy", and "Mute" are quite entertaining, but there are several parts of the album which feel uneventful and as a listener it´s hard not to become a little impatient when Wilson opts to spend more time with psychadelic experimental noodling, than on producing memorable songs.

For a "bedroom" recording, "Tarquin's Seaweed Farm" is relatively well sounding, although the programmed drums don´t really do the music any favors. They are simplistic and a little one-dimensional. So upon conclusion "Tarquin's Seaweed Farm" is an album featuring both great promise but also featuring more amaturish tendencies. Which is of course completely understandable at this early stage of Wilson´s career. I see this as more of a novelty recording that it´s nice to have heard to understand where Wilson came from than anything I´ll return to and listen to repeatedly. A 2.5 star (50%) rating is warranted.

(Originally posted on Metal Music Archives)

"Tarquin's Seaweed Farm" and the followup "The Nostalgia Factory" are the earliest recordings under the name PORCUPINE TREE although this is all Steven Wilson doing it by himself at this point. It was released in 1989 in very limited numbers but it got a proper release by Delirium Records two years later. Fifteen songs worth over 77 minutes and I don't think this is Steven Wilson's proudest moment by any means since he hasn't given this the big makeover like "On The Sunday Of Life" and the ones that followed into the 00's.

Some real highs here though but at the same time a lot of so-so material that is forgettable. And it's kind of cool to hear some familiar songs sounding demo-like sure but I like these tracks the most and see why they made it onto "On The Sunday Of Life". That includes "Jupiter Island" a catchy uptempo piece. Lots of fun but it sounds much better "On The Sunday Of LIfe". Another familiar tune of course and my favourite on here is "Radioactive Toy". The album ends strongly with the last three rounding out my top five. "No Reason To Live, No Reason To Die" at over 11 minutes with those beautiful guitar leads. Some beats and atmosphere and it will turn very spacey late to end it.

"Daughters In Excess" is so atmospheric and even ominous early on. It turns powerful before 2 1/2 minutes, like a train that Steven is so obsessed with. The closer rounds out my top five. "The Cross/ Hole/ Yellow Hedgerow Dreamscape" and it's the latter that is just so impressive and sounds good too for such a humble recording process. Not big on the section where it's like he's preaching but again the final section is great and makes up for it.

Very cool to finally hear this and please read TCat's review which really blew me away because I just didn't know the details of these early recordings that he lays out so well in his review.