RECORDINGS

(MY FAVORITE TRACK ON THIS ALBUM.) Track 01 - BUYING NEW SOUL. I immediately owe much homage for the establishment of this record because very rarely do I devote myself to the first song over any of the other tracks; however, for this particular scrap, the opening track blows the other eight plainly out of the water. Not only did the acoustic guitar prelude and keyboard sequences get me, but Wilson's opening lyrics, "Dried up, a guitar upon my knee," filled me with such a strong concept for water and the sound of waves crashing against serrated rocks, I couldn't believe what I was hearing. Sure, I'm ultimately biased, but my strong adoration for this group notwithstanding, even you, as both the reader and the listener, can't argue that this song doesn't have a substantial design. It's just, there isn't any embellishment whatsoever: it's just a straightforward, true piece of music Steven Wilson wrote to convey the poignant viewpoint of the sea, or from what I read into it. This is in no way fact, only a poor man's opinion on such a song. The gravity in his voice, the insipid brogue, enthralled me. I suppose, though, the chorus would have to be the best: its rising strike, the rhythm sliding off each other with each progressing word, oh, man, I could hardly comprehend how the band could decide this song was worth the first slot, because it usually is settled to put the most appealing piece up first, which "Buying New Soul" isn't, not in the least; it's appealing, yes, but not to everyone. Only the significant few can really appreciate it for what it is, the rest merely brush it off as enthusiastic incoherence from the songwriter who has no idea what he (or she) is even writing. I'd expect something like the full version of Even Less to be put first, mainly because the original was first on Porcupine Tree's Stupid Dream release, back in '98.

Regardless, I'm pleased they put this one first.

Track 02 - ACCESS DENIED. A friend of mine and I have time after time agreed this track must've been influenced by a song from The Beatles, our reasoning made palpable. Although it's no "Russia on Ice," "Intermediate Jesus," or "Hatesong," this song has rudiments only Porcupine Tree could assemble, and you can tell right off they had fun recording this song.

Track 03 - CURE FOR OPTIMISM. Every album needs a seemingly ominous song nobody understands but the gentlemen who shaped it, a piece that when listened to in utter darkness, worlds of diverse interpretations rush to the head, causing a vertical beam brightly burst and disintegrate into the memory lapse, one's mind, leaving a calm serenity vastly liquefying a dead scalp until the sun melts away a sigh. . . . this track is awesome.

Track 04 - UNTITLED. Although complex and relatively salient, it would take me hours to dissect this song, and I truly don't have that much time. Therefore, I enjoyed this song more than "Ambulance Chasing," but not as much as "Oceans Have no Memory," which so far, is my favorite Porcupine Tree instrumental piece of music - it's just too bloody short.

Track 05 - DISAPPEAR. This is one of many Porcupine Tree semi-ballads that make you think, as well enjoy the musical consequence of such, whilst not really understanding the core within our fragile and tedious psyche. (Instead of proper analysis, I'm filling these furuncles with a sense of poetic instinct and perception - it's all I can collect for now.)

Track 06 - AMBULANCE CHASING. This one, I think, has the best drumming throughout the album, and for such I have to give thanks to Chris Maitland. If truth be told, it kind of reminded me of one of Tool's songs, like "Reflection," probably; in fact, until Maitland embraced his cymbals, and the keyboards really went metrical, this entire song reminded me of something I'd hear from Tool.

Track 07 - IN FORMALDEHYDE. Not only does this title say all I need to perceive what kind of track this is going to be, but Wilson's child-like choral disposition presented this song as both sweet and quaint.

Track 08 - EVEN LESS (EXTENDED VERSION). This extended version is loads better than the original, not only because it's longer but because its lengthy parts really provide an extra scent not sensed before.

Track 09 - OCEANS HAVE NO MEMORY. Although too short, this is my favorite instrumental song by this group. I could go into detail of why, but that takes the time I do not have to spare at the moment, so either take my advice and really give this recording a chance, or don't; it's really up to you.

(And you may be asking yourself why I bother writing short reviews rather than wait for when I can really delve into an album and conjure up a full-viewed review, and that's a really good question. But if I really need to provide you with something long, dull, and no doubt full of wordy excrement, then I don't see the point in writing one at all. Sure, I enjoy writing lengthened reviews, but my shorts ones are sufficient for both kinds of readers: the short attention span reader, and the dedicated loyalist who is willing to read rambling paragraphs about music hardly comprehensive to the common man, at least without the same sarcastic wit few seem to carry. . . get it?)