Porcupine Tree – Hidden Treasures

Excellent songs that didn’t make the final cut

Some very strong songs were left off Porcupine Tree’s ten studio albums for reasons of space, changes of style … or in at least one case due to what the band’s leader Steven Wilson now regards as a mistake on his part.

I discovered some of these while writing my new book On Track … Porcupine Tree, a detailed analysis of the band’s songs. Many fans will already know them all, but to others I hope they will provide unexpected moments of joy.

The Sound of No-One Listening

This song starts with ominous soundscaping and sound effects, including the sound of an ice cream van, which has become a common horror film trope, though it may have a sense of nostalgia for some listeners. Although the band may have changed style by the time it was recorded, it’s an excellent track that stands up very well in retrospect, with a simple compelling bass riff and a lovely flute motif. Synth arpeggios provide a glittering, hopeful backdrop, as the song reaches a climax with very energetic drumming before falling back into a darkly disturbing noise-scape again.

Men of Wood

Steven Wilson said he found it difficult to find a home for this track. It was considered for two albums and as a single, but didn’t quite fit the band’s changing style, ‘It was almost a throwback to (the band’s) psychedelic pop, and that just wasn’t quite right – it was a context thing.’ The theme is the vacuity of modern society, sharing a sentiment with T. S. Eliot’s poem, ‘The Hollow Men’. The song begins with a dirty-sounding guitar, then heads for a memorable chorus with a nicely psychedelic key-change, giving it a rather wistful feel.

Buying New Soul

This track was recorded in writing sessions at Foel Studios, Wales, in March 2000, just after Porcupine Tree’s sixth studio album Lightbulb Sun was completed. It’s a gorgeous, poignant song with a haunting chorus. It follows the theme of the band’s fifth album Stupid Dream, the difficulty of balancing artistic integrity and commercial success. A highly personal song, it reflects Steven Wilson’s continuing fight against the music industry – ‘I still rage and wage my little war’ – but it ends with the depressing concept of selling out, of buying a ‘new soul at the start of every year’. The circling synthesizer motif that opens and closes the song perfectly matches the melancholy lyric and jazz-like upright bass. There is one moment of rage, but the feeling is generally one of resignation.

Cure for Optimism

This is a Steven Wilson solo performance at his home studio, No Man’s Land. The meaning of the song is just out of reach, but the track is still very evocative, with ghostly echoed piano motifs and subtle acoustic guitars. Mental health appears to be a theme here. The reference to a ‘serpent on a mobile phone’ could suggest a record company executive.

Drown With Me

In an interview in 2020, Steven Wilson told Lasse Hoile that he thought this song was going to be ‘one of the highlights’ of In Absentia, the band’s seventh studio album. He replaced it with ‘Prodigal’, ‘which I think is one of the weaker songs’, although he stressed this was a very personal opinion that others might disagree with. The reason for the substitution was that he felt ‘Prodigal’ was a better recording, although he regretted the decision later. ‘Drown With Me’ is a gorgeous, upbeat song in which the music contrasts sharply with the lyrics. The protagonist’s plan to drown the song’s addressee and her family seems to refer to the world of serial killers, one of the main themes of In Absentia.

Futile

This is the strongest example of the band’s interest in the music of Swedish heavy metal band, Meshuggah. The band’s drummer Gavin Harrison told Lasse Hoile that he wanted to write a Meshuggah-inspired track, that he could use as a challenge at his drum clinics, as he was finding it hard to play heavy metal. Gavin invited Steven Wilson to add guitar parts to the demo, resulting in ‘one of the heaviest pieces we ever recorded’. Lyrically, we may be back in the world of the serial killer that is so strong on In Absentia, ‘You were the one that made her cry … the world went black … lost my head.’ The chorus is fiercely dark, the metallic guitars almost burying the vocals. What makes the song remarkable is the contrast between the main guitar riff’s ferocity and the yearning delicacy of the backing vocals.

Nil Recurring

This and the next song were recorded during the sessions for Porcupine Tree’s ninth studio album Fear of a Blank Planet, which many fans consider to be their best. Both tracks feature on the band’s 2007 EP Nil Recurring. The title track of the EP is an instrumental featuring King Crimson’s Robert Fripp on lead guitar. After two minutes of guitar tapping and heavy riffing, a lovely, spacious breakdown highlights Colin Edwin’s bass and Richard Barbieri’s keyboards. Then, at around 3:20, the track gathers momentum, and a lovely riff cuts across a punchy one-note bass section. At around five minutes in, the opening echoed tapped-guitar theme returns, with a manic guitar solo and further heavy riffing, until the track suddenly dissolves.

What Happens Now?

This song’s protagonist seems to be suffering an existential crisis, rather like the main character in Fear of a Blank Planet. Material possessions mean nothing to him and they bore him, ‘So I got all these things, but so what?’ As he says, ‘You can’t take them with you’, and instead he seeks meaning through religion, asking the song’s mystery addressee, ‘You think you can save my soul?’ The answer – given in verse 2 – seems to be that he could die as a result of a suicide bombing, although the link between verses one and two is oblique. He boards a plane, in which somebody has concealed a bomb in a briefcase, as a result of which, ‘My body will spread through the heavens, across the sky/And my ashes will fall through the cloudburst.’ It’s a surprising and poetic image, despite its bleak suggestion that the answer is oblivion. Instrumentally, the track is very strong. Of particular note is the rhythmic illusion: beginning at about five minutes in, becoming much clearer at around six minutes, when the drums appear to move at half the speed of the other instruments, before the whole track slows down to an epic feeling of finality.

On Track: Porcupine Tree…every album, every song, published by Sonicbond, is out at the end of September and is available to order now at Burning Shed and other good bookshops.

Sources:

Sleeve notes to Stars Die: The Delerium Years 1991-1997 (2002)

Interviews with Steven Wilson and Gavin Harrison filmed for the In Absentia Deluxe Edition of 2020 by Lasse Hoile

Album Review – Isolated Dreams by Ghost Echo

A bold and accomplished debut from the Dutch duo

****

Many lockdown albums will be released in the next few months. Some of the recent highlights include Richard Barbieri’s Under a Spell , and Steven Wilson’s The Future Bites, recorded before lockdown but released in January. Now Dutch musicians Remy de Wal and Karel Witte have recorded Isolated Dreams, their first album together as Ghost Echo, with almost all the music being made by the two musicians remotely. The album was written and recorded between March last year and February this year in their home studios. Remy and Karel exchanged demos and did all the mixing and production themselves, an impressive achievement.

The album opens with Black Era with Eighties-sounding drum machines and synths, an anthemic chorus and vocals that are slightly reminiscent of the pure tones Morten Harket of the Norwegian pop group A-ha (although without reaching his stratospheric heights). But this is not a straightforward pop song; although it starts in that style, it soon embraces an almost prog metal style with metallic guitars and screeching synth lines. It is a promising and mature start to the album, immediately demanding the listener’s attention.

Dust begins with a gorgeous keyboard motif, influenced as the band admit partly by the soundtracks to both of the Blade Runner films. The song features lo-fi trip hop beats and a lovely, introspective vocal line delivered with great emotion.

Late Night is the highlight of the album, an atmospherically dystopian tale of a man haunted by demons in the small hours of the night. The band openly acknowledge the song’s debt to the more recent electronic work of Steven Wilson, but the gorgeous harmonies in the chorus also hark back to Wilson’s earlier work with his band Porcupine Tree. The disturbing animated video, with a touch of psychedelia, was created by Tiago Araújo; it also has an indirect link to Steven Wilson in that it is similar to the work of Jess Cope in her animation for The People Who Eat Darkness from Wilson’s solo album To The Bone.

Tiago Araújo’s video is based on a script by Karel Witte

Null Void begins with a dark trip-hop soundscape and heavily compressed vocals, like the soundtrack to a bleak science fiction film, perhaps set in the dystopian near future when the planet has been devasted by some cataclysmic event and an oppressive regime has come to power. The song ends with a prog rock style epic guitar solo, and the repeated words ‘I see you watching me’, suggesting the protagonist is now living in a totalitarian state, before the track stutters to a halt.

Another stand-out track is Pitfalls which closes the album, beginning with a slow-burning ambient sound, building to another epic guitar solo, accompanied by Giorgio Moroder-style synth chords and prog metal guitar chords, with emotionally wrought vocals; a powerful climax to the album.

It is to the band’s credit that even at this early stage in their career they have sequenced an album of emotional highs and lows, and taken the listener on a journey of discovery. They even left off the song Conspiracy Leader described by the band as ‘a dark synthpop-goes-progmetal track featuring acoustic drums (!) by Kay Ketting’,  as they did not feel that it fitted into the sequencing of the album, a brave but important artistic decision so early on.

It would be hard to tell that the album was recorded in lockdown except for the reference in the title to ‘isolated’ dreams. It is an accomplished and bold debut, immediately establishing an exciting new voice, a very effective combination of pop, prog, metal and trip-hop. Apparently, they are already writing new material which provides hope for the band’s future when they can get together in person.

Ghost Echo are:

Remy de Wal – Guitars, synthesizers, programming and backing vocals

Karel Witte – Lead vocals, guitars, synthesizers and programming

Isolated Dreams is out now.