Aural Fixations

PORCUPINE TREE
In Absentia
(Lava)
Great Britain's Porcupine Tree has become an icon in both the progressive rock and the psychedelic undergrounds, creating nearly a dozen powerful, often stunningly crafted albums full of music damn near impossible to describe. Leader Steven Wilson's vision encompasses pretty much any kind of music he comes across that appeals to him; past PT albums have incorporated elements of psychedelic rock, prog, pop, techno, ambient, space rock, metal, folk and world music, all artfully blended into an alloy that is only recognizable as Porcupine Tree music. Amazingly, the band has managed to build an exceptionally accomplished body of work while remaining under the radar, beloved mainly by a cult audience. But with past masterpieces like Signify, Stupid Dream and Lightbulb Sun on its docket, and a slowly-but-steadily growing fanbase singing its presence, it was inevitable that a major label would eventually snatch the band up and try to squeeze some dollars out of a rock act that pretty much defies classification. (Kudos to Lava parent Atlantic Records for having the cojones to give PT a try on the corporate treadmill, though one wonders if both parties won't come to regret it.).

The result of this unlikely alliance is In Absentia. The band's tenth studio record is not only its first album with major label dollars behind it, but also the first since Wilson began moonlighting as a producer for extreme metal bands. The former situation isn't particularly evident; as producer and engineer on the group's prior albums, Wilson has always maintained the highest recording standards, making records that sound easily as good as or better than most major label product. (Though the major label budget allowed him to hire someone to take his place in the engineering booth: Paul Northfield, who's worked with Rush, among others.) The latter presence, however, makes itself known in subtle ways. In particular, Wilson's work with progressive death metal band Opeth on their masterwork Blackwater Park has had an effect on his sense of arrangement. There's little on this record that could be classified as metal, and Wilson's never shied away from heavy guitar sounds, but the dynamics of tracks like "The Sound of Muzak" and "Blackest Eyes" definitely reveal a metallic influence. The scorching instrumental "Wedding Nails" edges PT closer to the number of the beast that it's ever trod before, as Wilson's crunching guitar slashes its way through the band's relentless drive.

Which isn't to say that the quartet has abandoned its trademarks for a harder-edged sound overall. Wilson still mixes acoustic and electric guitars into a six-string tapestry more colorful than most bands with two guitar players can manage, and his mellifluous vocals still ooze soul. Richard Barbieri still uses his analog keyboard arsenal to layer in tasteful fills that seem like mere ornamentation at first, but become impossible to imagine the tracks without. Bassist Colin Edwin, possibly the most underrated four-stringer in music, still lays down impossibly melodic basslines that never give up the groove. New drummer Gavin Harrison has the skill and imagination to keep up with the high standards set by his predecessor Chris Maitland. The band works as if its members were born to play together, moving through its meticulous arrangements with taste and fire. The elements borrowed from extreme metal don't detract at all from PT's distinctive sound; instead they add more weapons to the group's already-impressive arsenal. Few rock bands combine lush and edgy as well as Porcupine Tree. (more)

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