THE INCIDENT

Porcupine Tree have always been known as a polarizing band, but who knew that their last release for the forseeable future would also be their weakest? Created two years after the acclaimed Fear of a Blank Planet, The Incident is perhaps the most ambitious work that Steven Wilson and co. have created thus far. The concept revolves around the topic of incidents and numerous traumatic events, and is connected by (technically) a 55- minute track. While the song is split up into numerous movements, it's clear that Wilson intended for this to be a full-fledged epic that would string together each piece of the concept. And all of this certainly sounded promising to say the least; the subject sounds like it would lend itself to some very powerful and emotionally resonant pieces of rock music. But there's the age-old question: did it all work? Well... no, it didn't.

Let's make something clear right away: Porcupine Tree have never failed at being technically proficient, precise, and atmospheric in their albums; this record is certainly no exception to that. Also, as with previous albums, Wilson has learned some new tricks this time around, mainly in the metal department. Opeth, Meshuggah, and even Nine Inch Nails could be cited as valid influences here, especially on heavier tracks like "Circle of Manias" and "The Blind House." Even the opening number "Occam's Razor" does it's job really well, its intense singular notes ringing out and exuding suspense and intrigue with each passing burst of distortion. But it's not long until things go awry, and it all starts with Steven Wilson's voice. I guess the best place to start, considering it's where almost everyone starts regarding this, is with the poppy song "Drawing the Line." Wilson constantly sounds out of breath during the chorus, which is a bit odd considering how he was able to belt out those high notes in "Shallow" just four years prior. But the real issue lies in how detached he sounds throughout the whole piece. Again, the guitar work, Colin Edwin's bass work, Gavin Harrison's drum work, and Richard Barbieri's keyboard work all sound good; however, why give a damn when you can't summon any passion with your voice and get people interested? The title track is the worst offender; Wilson's voice sounds nicely sinister during the industrial segment, but just sounds lethargic and lazy during the alternative rock- based chorus.

Unfortunately, this all leads to the bigger issue at hand: the whole damn album sounds very detached. No song on The Incident is bad by any means, but the problem is that it focuses on a bunch of different incidents of trauma and destruction rather than just one or two. How can people get invested in these people and their scars when Wilson's songs just fly by them and hurry on to the next topic at hand? The shorter songs like "Great Expectations" and "Your Unpleasant Family" are the absolute worst when it comes to this, because without any flow or emotional development to carry them, they just sound blatantly unfinished and utterly pointless. These issues also make many of the album's payoffs pointless, because they don't feel earned. That is, except for two masterpieces: "Time Flies" and "I Drive the Hearse." These songs are longer, more developed, and are absolutely gorgeous works that are actually somewhat reminiscent of the band's Lightbulb Sun days. These songs are clearly the highlights of this whole thing; "Time Flies" is especially notable because of a long drawn- out Pink Floyd-inspired droning section in the middle. It doesn't really fit the rest of the song, but it's a neat and inventive detour for an album that's honestly not as ambitious as its concept suggested. "I Drive the Hearse" is more of a standard ballad, but is still a beautiful piece and features some of Wilson's most delicate guitar and vocal work thus far.

It's a real shame when the rest of the experience is so damn mediocre and disjointed, though. Sadder, yet, is the fact that this is our last impression of Porcupine Tree for the time being and it has to be so weak. I remember the album initially having sort of a "wow" factor when I was younger, mainly because of the long- winded concept and (at least perceived) variety in the songs' tempos and dynamics. However, upon really peeling the layers of the record, it was proven to me just how bad its songwriting and ESPECIALLY its flow were. I guess I should briefly mention the second disc before signing out; honestly, it's not really worth discussing. The song's are decent, but don't pertain to the main experience and only serve to drag it out even longer. However, I will give a positive nod to "Bonnie the Cat" which has a cool sneaky atmosphere in terms of vocals and softer dynamics, as well as some impressive drumming by Harrison. Regardless, The Incident's ambition clearly didn't match the final cut. I really hope that Wilson brings the band back together for at least one more record, because we certainly deserve a better finale than this.

(Originally published on Sputnikmusic)