PORCUPINE RESTART

When multi-instrumentalist Steven Wilson created Porcupine Tree in the late 1980s it was part homage to the progressive sounds of the mid-1970s, Prog’s great decade, and also a bit of fun. It was therefore something of a surprise to the musician when the release of the first Porcupine Tree album in 1992 sparked an enthusiastic response. A series of popular and well-regarded albums followed, helping kick off a progressive rock revival.

After 2009’s The Incident Wilson wound up Porcupine Tree to focus on solo work, releasing five solo albums across the next decade. Along the way Wilson’s studio skills saw him becoming a highly sought-after remixer of "classic" albums, with Yes, Jethro Tull and many other bands keen to submit their best known works for a sonic overhaul. The "vinyl revival" super-charged this process as both new and old prog fans scrambled to hear the revitalised records.

The 2022 Porcupine Tree album, enigmatically but accurately titled Closure/Continuation, was not expected by fans, but generated much anticipation. Some of the music came from unfinished ideas from the earlier incarnation of Porcupine Tree (Closure), some was new (Continuation). The difference from previous albums is that the music was created much more collaboratively (though not in the same room at the same time). So it is more than fitting that the opening track, "Harridan", introduces the three musicians by having them enter the stage (ahem) progressively. First comes guitarist/bass player Wilson, laying down a jumpy bass riff before drummer Gavin Harrison (lately of King Crimson) adds jittery percussion and Richard Barbieri (best known as a member of Japan) colours the mood with deft synthesiser sweeps.

There is plenty of sonic variety, both between pieces and within them. When "Hard Culling" explodes, for example, we are definitely in prog metal territory, while the track that follows it, "Walk the plank", is the most atmospheric on the album. At 9’40", closing epic "Chimera’s wreck" is closest to a traditional prog rock template, beginning pensively with echoed vocals and atmospheric synths. It unfolds in a series of moody episodes with some nice acoustic guitar accompanying the lyrics, followed by a slow build towards Harrison’s forceful (yet sympathetic) drum part. Things get gnarly with a neat Wilson guitar solo and some great ensemble interplay; there are definite traces of Van Der Graaf Generator here. That the piece finishes unexpectedly and somewhat inconclusively fits with the album’s title. Musically, the door has been left open. What might arrive in the future?

Perceptions of music are always coloured by our experience of the artist. Is this a much loved band from whom we’ve been craving new material? Then expectations are high. Or perhaps this is an outfit we read about and decided to give a try. Curiosity opens us to new sounds. Given these varied paths, it is unsurprising that in reviews of Closure/Continuation, one person’s highlight was another’s low point. One track showed the band pushing forward, while to other ears the piece was 'more of the same'. In the end, complex music is always going to take some time to get one’s head around. In this case the rewards are great, both for new listeners and established fans. Some might close their account, certainly. But many others will appreciate the delayed continuation of a cherished rock band. And some will find an unexpected door has opened to a new and exciting vision.

© Bruce Jenkins—September 2022