Anesthetize (Porcupine Tree, 2007)

This "Anestethize", coming from the album "Fear of A Blank Planet", could be considered a suite, as the lyrics in the booklet were neatly divided into three sections, and anyway  its more than 17 minutes of duration time and the changes in mood, tempo and arrangement also justify this. The song is highly representative of the 2000s production of Wilson & friends, lining up atmospheric and rather sad moments, ballad-like themes and cold distorted guitars in the rockiest passages.

"Anestetize" also was the title of PT's 2010 live release.

For sure, this weird mixture has a mysterious emotional appeal, and it compels the listener to dig inside his or her soul, where the deepest fears and worries hid themselves. The last section, in particular, moves me each time I listen to this epic, but all its moments are there to outline a dark journey that has the power to nerve my spirit in a shrewd and keen way.

The Sky Moves Sideways Phase 1 (Porcupine Tree, 1995)

This four-parts suite belongs to the early and more Floydian PT's production and opens their third album in a spacey and atmospheric way I definitely like. The influence of "Shine on You Crazy Diamond" is patent, still there is a more electronic approach and a very eclectic architecture. The intro, titled "The Colour of Air", is a synth-based section building up a deep, introspective atmosphere à la Rick Wright. When the guitar comes in, the Foydian painting shines in all its glory. But the following parts enrich this background with flushing and diversified touches, ranging from acoustic ballads to energic rock and getting more original.

 

There are three different CD releases of this album, the last one 

(2004) includimg some interesting bonus tracks. 

This is also one of the best vocal performances by Steven Wilson, deep and effective, a good collection of evocative chords  and - last but not least - a brilliant essay of well assorted soft and loud moments. There is also a second part of this suite at the end of the album, but I think this one is the strongest one by far and can also be considered as a stand alone track. Probably "The Sky Moves Sideways" is where Porcupine Tree's legend was born.

Lazarus (Porcupine Tree, 2005)

This is a beautiful song, a modern day prog song, in fact. Taken from "Deadwing" album, it shows why and how Steven Wilson won the title of "Man who saved the prog". A killing piano provides the background for the catchy melody (a very good one) and the usual increasing number of instruments leading from low volume ballad to a crimsonian wall of sound (and back again). The structure isn't tricky, but the sound is so carefully laboured you always find something new in it each time you listen to.

The art for "Lazarus" single. Towards the valley below...

What's great in this song (and in other Porcupine Tree's songs of the same kind) is the contrast between the warm background and the apparently cold vocals, a musical struggle adding a shroud of mystery and wonder to the track. This sense of wonder is keenly powered by the lyrics, describing an upside down Lazarus receiving the invitation to leave the life and go down the valley below. Do they play prog there?

Radioactive Toy (Porcupine Tree, 1991)

Let me say first that an early version of this song was released by Steven Wilson and his Porcupine Tree in a limited edition demo cassette titled "Tarquin's Seaweed Farm" in 1989. But the 1991 version, taken from the band's first official album "On The Sunday of Life..." is kind of a new track, suffice to say that this new "Radioactive Toy" lasts more than 10 minutes, twice the 1989 song duration. It is an essential song in the long and difficult path leading to the prog rock revival of the '90s and I could define it so modern, so classic.

Cover art for "On The Sunday of Life..." (1991)

There's a bit of everything inside it: the floydian rarefaction, the crimsonian stateliness, a good deal of electronics and even a scent of proto-prog years. Yet, if this song is considered the first thorough specimen of Porcupine Tree's sound, this is because you don't even notice the inspiration sources of the song, but you admire in it the coherence and the musical innovation. I equally like the first sung part of the track with its soft rythm and muffled vocals and the long, beautiful and unpredictable instrumental second section. When I listen to this track, I can't help thinking this was created one year before the first Radiohead record and twenty-two years after King Crimson's debut. Incredibly, both could have written it.

Waiting Phase One (Porcupine Tree, 1996)

I admit I love Porcupine Tree's ballads, slow and acoustically driven, airy and dreamy. This one, in particular, taken from the album "Signify", is perfect in his genre, featuring a well found theme, an electric background supporting the guitar chords and a delicious electric guitar solo. As usual, the vocal performance is soft and almost careless, so moderate one could imagine the singer is just rehearsing a new tune.

Porcupine Tree circa "Signify" album era.

But this is the secret of Steven Wilson and his group: never show up, never emphasize... music is a matter of measure and shade. It's up to the listener to find the secret garden, the inner emotional world that probably lies somewhere behind each Porcupine Tree's song and certainly behind this one. So, I wish you a good hunting.