Album of the Week 32-2016: Porcupine Tree – The Incident


For a genre with “progressive” in its name, there have been relatively little young progressive Rock heroes these last years. Steven Wilson has been the last man to be widely accepted as a Prog guru and even though he doesn’t look like it, he is in his late forties. A more positive explanation would be that he set the bar incredibly high and although people like Wilson – to no fault of their own – have an army of admirers incapable of criticizing him, they may be right in this case. Of all his project, Porcupine Tree is easily my favorite, because of its use of dynamics.

Despite being released seven years ago, ‘The Incident’ is Porcupine Tree’s most recent work and features probably their most fully realized material. Personally, I really enjoyed its predecessor ‘Fear Of A Blank Planet’, but that record was quite driven by the Metal elements that have been present since current drummer Gavin Harrison joined the band and Wilson has been producing Opeth around the turn of the century. ‘The Incident’ truly has the band moving from the calmest Folk sections through the most spacey, psychedelic passages to some surprisingly heavy riffing. As a result, the album stays interesting throughout its entire 75 minute run – spread out over two discs.

The centerpiece of the album is the 55 minute titular “song cycle”. Their words, not mine. It’s not one of those “one song albums” in a strict sense. In fact, the approach more closely resembles a traditional concept album with recurring themes, atmospheric interludes, but also expertly written songs that work very well as stand-alone songs. The dark, melancholic vibe, occasional Pop hooks and the way the obvious musical prowess of the instrumentalists generally a backseat in favor of the actual songs make the cycle feel like a modern take on Marillion’s ‘Brave’, albeit with a vastly different sound.

While I would generally prefer a powerhouse singer over this type of material, Wilson’s soft voice actually works really well with the introspective nature of the music and especially the lyrics. His guitar work is usuall simple, but brutally effective. He doesn’t play a lot of notes – Harrison is the only one who sometimes does – but what he does play resonates icredibly on an emotional level. The middle section of the 12 minute ‘Time Flies’ is the perfect example. This approach has an advantage; when the band does fire on all cylinders, like they do on ‘Octane Twisted’, it sounds highly overwhelming, even though it isn’t particularly complex in terms of composition or musicianship.

After the emotional roller coaster that is ‘The Incident’, the four songs on the second cd sound slightly out of place. It’s not like they’re bad songs; in fact, the abstract rocker ‘Bonnie The Cat’ and the powerfully built-up ‘Remember Me Lover’ are excellent, but they feel a little tacked onto the end of the record because… Well, let’s face it, they are. They may have worked better as a separate release without an epic, mind-blowing 55 minute journey fresh in mind.

Naturally, the conceptual nature of the record helps ‘The Incident’ have a consistency that many of the more disjointed modern progressive acts lack. Most of Wilson’s records do. What makes ‘The Incident’ so strong, however, is the fact that it manages to move all over the stylistic map without ever losing its focus. There’s the Folky feel of early Genesis, the layered Pop of the latter days of The Beatles, the riffy propulsion of Heavy Metal and even the Krautrock influences that were more prominent on Porcupine Tree’s oldest records haven’t faded away entirely. Combine that in a way that won’t make the listener lose his way and you’ve got an excellent record on your hands.

Recommended tracks: ‘Time Flies’, ‘The Incident’, ‘Octane Twisted’

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