For good reason.
Arguably, no single individual has left his stamp on the developing world of neo-prog more indelibly than the one man prog phenom and musical prodigy Steven Wilson. Through his work with his own bands and collaborations, Porcupine Tree, No-Man, Bass Communion, and Blackfield as well as his multi-textured production work, found on such prog-death metal classics as Opeth’s “Blackwater Park,” “Deliverance,” and “Damnation,” as well as albums by prog mainstays Fish, Marillion, OSI and Paatos, Wilson has created a massive ephemeral resume of atmospheric experimental progressive rock, molding the world of music to fit his particular muse.
And nowhere will you see this vision so exquisitely realized as his work with phenomenally popular band, Porcupine Tree. What started out as a Spinal Tap joke, with a made up discography and body of music, Porcupine Tree quickly became
And despite all the critical love and attention Porcupine Tree gets, in some ways, it's still not enough.
“Wedding Nails,” brings this contradiction to the forefront, a terror of raging metal, searing guitar riffs before breaking down into a free form avalanche of space guitar, cosmic interludes and ambient fills. Menace fills the air with each murderous chord. And it’s this unpredictability that best describes
Perhaps no song greater than "Trains," sums up the subtle beauty of Wilson's vision. With his delicate voice, fragile in its vulnerability lilting above the acoustic guitar, the looping bass swoops in from underneath. Acoustic and powerful, it became the show closer for years after it's release.
Accessible without being predictable. Powerful without ever losing subtlety. Haunting in its tone and atmosphere, yet clear as a catchy pop song. This is modern prog at its most complex without being overly burdened with technical wizardry. Heavy and light in one breath.
That’s Porcupine Tree.
Buy here: In Absentia