IN ABSENTIA

"In Absentia" (Latin): "in the absence ". In legal use it usually pertains to a defendant's right to be present in court proceedings. (Wikipedia)
But, what we are dealing with here is Porcupine Tree's seventh studio album, and their first on a major record label (Lava Records) in 2002. "In Absentia" is an extension of the path that the band had been on for many years now, a path of more palatable alt-rock, while still pushing boundaries in more subtle and acceptable ways. "In Absentia" is generally recognized by Porcupine Tree fans and the progressive music community, as the band's best effort in studio creation. It is a brilliant collection of both 'rock-able' and ballad tracks, and nothing ridiculously long; a far cry from their days of "Voyage 34" and "The Sky Moves Sideways" in boasting 20- minute epics. Ever since the release of "Signify" in 1996 the band moved sideways themselves, shifting onto a different plane of music, basically to begin producing more mainstream rock. This may sound a little blunt, and harsh, but what Porcupine Tree molded into post their 'musical-wankery' of "The Sky Moves Sideways", was very intruiging. This was a new sound that flunk-heads of plain 90's rock could appreciate, but was still driving in behind and underneath with new and exciting experimentations. The result was like an interesting piece of musical candy; a harsh and crunchy alt-rock coating over a deliciously smooth and tangy progressive centre. Emerging from the alterations in the band's style were some brilliant servings of this audio-candy in "Signify" from 1996, "Stupid Dream" of 1999 and "Lightbulb Sun" in 2000. Now we arrive in 2002 with the release of "In Absentia" on Lava Records. First of all I must say, that this is an amazingly versatile, volatile and changing album from track to track, like few other things I have ever heard before. I'm not even sure if those are the right sort of descriptor words that I am looking for, but in any case there is so much different material packed into this recording. - The opener "Blackest Eyes" is here and there, over somewhere else as well, and at times I have no idea where it's at. The initial heavy-metal and distorted guitar riffs set you up for a good old piece of dark and driving rock from Porcupine Tree, but then the most mind-blowing whoosh of a transition sends you into a mellow and semi acoustic verse and chorus with beautiful vocals displaying sad and lonesome lyrics. But it keeps chopping back and forth between these lovely vocal sections and raucous heavy metal guitar hammerings, like the track can't decide what it wants to be. Sometimes this does annoy me after a while, but I love it all the same. - "Trains". My. God. In my opinion the stunner of the album (and the band's entire discography.), but that's open. The soft acoustic guitar at the start wanders around beneath one of the most beautiful vocal melodies I have ever heard. The crash into a more epic and electric verse is superbly well done, totally fluid and understated, it could slip by and you'd never notice more than any other drum fill. And the section of banjo, just another illustration of hugely vast range of sounds that Porcupine Tree employs in this album. - Further into the versatility of the band, we have "Wedding Nails", an instrumental session straying into the progressive metal territory. Two things that really work together here are the guitar and drums, most obvious at the opening of the track. The guitar riff starts out on it's own, but when the drums and rhythm come in beneath the whole texture of the phrase changes. More driving and hammering (nails), to me the initial guitar riff sounds totally different between the phases without and then with the drums. A wonderful piece of development, this track is really full of energy. - "Collapse the Light into Earth" turns around another corner, and falls into yet a different sector of the Porcupine Tree sound and ability, namely their ballads. Scattered through several albums from the band ("Lazarus" from "Deadwing" is another prime example), the ability to settle down and produce something slow and beautiful is effortless. Quite un-characteristic to the rest of the album, "Collapse" is largely just piano chords and vocals, but in listening one doesn't feel like anything has been stretched to do something different. The seams are all sewn perfectly together, and it is further tribute to Wilson and Porcupine Tree as musicians and composers. With regards to the rest of the tracks, almost everything is good or better. To me "The Sound of Muzak" is similar to the first track of the album, with the dark and light, although perhaps not as extreme in the fluctuation of styles. But to be perfectly honest cast all of that aside, because the centre-piece of this track is the guitar solo, a top-notch illustration of Porcupine Tree's progressive elements that is strange and interesting yet still perfectly calculated. "Prodigal" is another wonderful piece of mellow but exciting rock, while "Lips of Ashes" and "Gravity Eyelids" display dreamy work with ambient synths. "Heartattack in a Layby" is almost another lovely piano ballad, but is a bit more electronic in synth use to achieve a very somber tone. "Strip the Soul" I find a bit weak in parts, lacking a melody and direction of sorts, but it is still a fairly good song despite being a few minutes long for a straight rock track. However the only track I actually don't like, and will not listen to, is "The Creator Has a Mastertape". To me it is dull, with no tune, and not so much a pleasure to my ears. What I do like a lot about "In Absentia" though, is how worthy of production each track seems to be. There is nothing here which is a throw-away effort or a waste of time, just glance up and down the track times above. There is no filler work to bulk the record out, each piece is thoroughly composed and produced earnestly. The fact that almost every track is also an absolute pleasure to my ears is a further bonus, but certainly the consistency of effort in this album grants high praise to the abilities of Wilson in particular as a songwriter. A good many friends I have in my musical community, would argue that Porcupine Tree's more contemporary works would struggle to meet their classifications of progressive music. I do agree but only to an extent, as per my theory of the band's move sideways onto a different musical path. The shift from being like pre-"Dark- Side" Pink Floyd to pulling up along side say, Radiohead, could only have significantly diminished their purely progressive music. But I think Porcupine Tree have begun to haul it back, slowly. You can catch it at odd moments on the other albums, a few examples which spring to mind right now are "Signify" from the album with the same title and "Russia on Ice" from "Lightbulb Sun" and there are plenty more. But to me "In Absentia" sounds very different, and feels like a change back to more obviously progressive music, and I do think this becomes even more prominent on "Deadwing" in 2005, the studio release following "In Absentia". While it is plainly the most successful, "In Absentia" is far from my favourite Porcupine Tree record, if I may indulge myself in laying out further personal opinions. "Deadwing" and "The Sky Moves Sideways" are both at the top of my list, as I am an absolute sucker for any concept albums! But I have heard briefly and also read something recently about "In Absentia" as the story of a murderer from childhood through marriage, which is news to me and shall have to be investigated. However without any shadow of doubt AT ALL, "Trains" is absolutely my favourite individual Porcupine Tree song, hands down. But not just for that, "In Absentia" is a wonderful album with so much to be discovered, you can't go past it as an amazing set of songs. To those used to modern rock and wishing to venture into progressive music, I can think of few easier places to start. A nearly unbeatable audio experience is, most definitely, not absent from this album. The future of music is in the hands of those continually innovative musicians and composers, Steve Wilson and Porcupine Tree certainly fall within these elite ranks. ".Shiny and contoured, the railway winds." Trains - Pocupine Tree (In Absentia)
Regards, Chris Holdaway January 2007 Berlin, Germany