IN ABSENTIA

While I'm writing this, the rain is pouring outside, which is what I love most when I'm writing, so I'll try not to ramble on too badly throughout this review, but if I happen to do so, feel free to skip ahead, 'cause chances are you're not going to like my judgment. . .

Track 01 - BLACKEST EYES. I, for one, was more than content with Steven Wilson's six-note introduction, but even I have to admit that once the band works collectively, the music is far more phenomenal (especially when they're playing live). Beyond anything else, this song would be nothing - seriously, nothing - without the first three lines: "A mother sings a lullaby to a child; sometime in the future, the boy goes wild, and all his nerves are feeling some kind of energy," really because of how Wilson presents the tone of his vocals; how he emphasizes the last word, "energy," by each syllable. The idea, for me, is pure genius, and was sung just as marvelously as he could have imagined doing so. However, along with the opening words, I think what also forms the track into incredible is the chorus. I mean, with such songs as D'yer Mak'er by Led Zeppelin and Where the Sour Turns to Sweet by Genesis, I can't help but take in that maybe choruses aren't always a great thing.

(FAVORITE TRACK ON THIS ALBUM.) Track 02 - TRAINS. I have to say, when I heard Wilson play this acoustically, I nearly died it was so lovely. His attempt at influential vocal harmony masked by his simple notes is amazing, not only on soft ballads such as this one, or Heartattack in a Layby, but on heavier ones like Shesmovedon and even Halo (from their Deadwing release). In truth, I often find Porcupine Tree's lyrics to be somewhat axiomatic, being both banal as well as tumultuous, which are a poor combination because it allows me to not only know who to expect, but in fact dread that it's coming; this isn't the case with In Absentia. I'm really referring to the years before 2001, before Recordings hit the shelves. Songs like Where We Would Be and Don't Hate Me, and definitely Four Chords that Made a Million, which are all fine songs within their own parameters, but they aren't anything I'd necessarily call "masterful," if you know what I mean. Unlike In Absentia, there were very few songs (i.e., Buying New Soul, Russia on Ice, Even Less [extended version], and Intermediate Jesus) that really sparked anything inside me of enough to really understand where the band - Wilson, more importantly - was coming from.

Trains not only has affection, but it's also eye-catching, and that's the key; that's everything I love about Porcupine Tree, is the ability to take something simple and build it into a good-looking/feeling melody with both musical and vocal standing points. Nothing standoffish about this song, in my eyes it defines and catches the very essence that is Porcupine Tree.

Track 03 - LIPS OF ASHES. Upon hearing this song for the first time, Barbirri's glass-like shattering was repulsive beyond my power. I started the track over again probably three times before I even realized what it was and started to enjoy it, which just shows you how worrisome I get while listening to something new. It's actually a disease, really, because I hate doing it but yet, I can't help myself. I hear something that goes out of place, I have to immediately rewind the song until I'm either used to it or I grow tired of the whole ordeal and just move on due to straight ennui. Afterward, the song's accompanied by Wilson, again, heading his simplified trademark. That is, until he starts singing and once more, he brings meaning to the song with the lyrical content. The whole song reminds me of one lengthened lullaby, to be honest.

Track 04 - THE SOUND OF MUSAK. I imagine this song is probably one of the top favorites for many listeners of this band, really because it has everything the "typical Porcupine Tree" needs: a fast beat, rhythmical chorus, and exceptional closing. And although that's not all I look for in a song, it certainly helps this track gain its fame. I most importantly enjoyed the verse, "The music of rebellion makes you wanna rage, but it's made by millionaires who are nearly twice your age," which, to me, offers an amusing cheap shot to all the teenagers who either misinterpret their favorite musicians' lyrics to be something defiant and raucous, or they miscalculate the said musicians' intentions with their million-dollar houses and false sense of musical ambition - either way, it's an overwhelming misconception for both parties.

Track 05 - GRAVITY EYELIDS. This is song is most certainly shows the calmer, truer side of Porcupine Tree. I happen to find it more like a sequel to Lips of Ashes, for it reminds me of an ending to a lullaby. Topped with grand singing by Wilson and a steady chorused beat by drummer Gavin Harrison, it makes for an excellent sub-piece for the album.

Track 06 - WEDDING NAILS. You can tell the band just had fun with this instrumental buildup, really because you never hear one instrument faltering in order to leave the strike open for another; every one of them has their turn to draw attention to themselves with the repetitive charity. Around two minutes into it, though, things grow more and attach to the old, forgotten ways of Porcupine Tree and enter into the psychedelic realm that might be more remembered by fans of Voyage 34 and The Sky Moves Sideways. Then, the process continues. . .

Track 07 - PRODIGAL. This track isn't as dominant as, say, Trains or Gravity Eyelids, but it's worth a listen and it leaves you pleased with its straightforwardness, almost just Wilson venting. Another great chorus, I think.

Track 08 - .3 This, I think, is almost a forewarning for Strip the Soul, something that allows the listener into what's to continue through the eleventh track, and nothing more. The only lyrics involved are a mere two-lined heading: "Black the sky, weapons fly; lay them waste for your race," repeated over and over, which also reminds me of a Godspeed You! Black Emperor-like piece that signifies the end of our civilization.

Track 09 - THE CREATER HAS A MASTERTAPE. Except for minor dark imagery and the occasional frightening concept of a archetypal suburban lifestyle, this song really doesn't have much to offer. Rest assured, the very last line makes this song worthwhile.

Track 10 - HEARTATTACK IN A LAYBY. More simpler music that is just unbelievable. Wilson's stylistic monotony not only shines on this song, but I can't imagine anything sounding better. And although this song makes me think of many things, most of them are irrelevant and the rain has stopped, so I'd like to get on with it.

Track 11 - STRIP THE SOUL. If you were to ask me personally, I'd probably say I enjoy this song, but the truth is, I don't; the only reason I'd say it was great would be to sell another person on the idea of Porcupine Tree being worth their time. However, that's not the case because this song really isn't all that grand. Disparate from a lot of there other work, these lyrics are horrible.

Track 12 - COLLAPSE THE LIGHT INTO EARTH. This last song has some of the most beautiful piano work I have heard for sometime, mind that while you're reading this. Another great lyrical piece, as well, really due to "collapse" being highlighted the way it was. The chorus, as well, is simply breathtaking.

Eh, I guess that's all. The album would have to be my favorite - either this, or Recordings. They both have their dissimilar elements, I s'pose. . .