IN ABSENTIA

From their first albums of experimental space techno (On The Sunday Of Life, Voyage 34) to a more evolved ambient psychedelic rock (Up The Downstair, The Sky Moves Sideways, Staircase Infinities, Signify somewhat), to more accessible space rock (Signify, Stupid Dream, Lightbulb Sun) and finally at something that can possibly be classified space metal (is that even a genre?), Porcupine Tree has certainly changed over the years.

However, I am one of the only people who believe that their actual musical quality has decreased in the 00's. Listen to the epic Sky Moves Sideways and the compositional skill Wilson exhibits in the beautiful ambient soundscapes, or the second half of Signify where you can be taken to a virtually different world if you give it your full attention. That is the genius of Wilson's Porcupine Tree that had led to their underground appreciation in prog circles.

Then, Porcupine Tree releases Stupid Dream and Lightbulb Sun which clearly are becoming more accessible and song-based while not explicitly "commercial." This is not always a bad sign, but their music started to lose the magic and inspiration that I felt in their earlier albums (such as TSMS).

Finally, we arrive at In Absentia, where a heavier metal side is starting to emerge, possibly from working with Opeth (whose influence really becomes apparent in their following album, Deadwing). One can also hear a more grungy metallic sound (much like Tool) and more britpoppy compositions (like Radiohead or sometimes even Coldplay).

If Porcupine Tree was able to keep the inspiration and more in a new direction, I would in fact commend them for that, but I don't exactly feel that in In Absentia. Since this is a prog website, I must also add that the music isn't exactly prog either (lowering my rating from 6.5/10 to 5/10, which I will round down to 2 because it seems to be somewhat overrated here).

There are many good qualities about this album. First, many of the tracks are catchy, (Blackest Eyes, Trains, Collapse The Light Into Earth), but not without cheating a bit. If you repeat the same hook over and over and over again, you are sure to get riffs stuck in the head of the listener (think of Europe's Final Countdown).

Second, there are a few tracks that have some of the inspiration that the album is overall lacking. Try checking out .3, an impressive near-instrumental track that shows a great bassline and the psychedelic/space rock that Wilson does great.

Third, it is very cohesive. It follows the concept, and while I am tempted to press the skip button over certain tracks (Strip The Soul), it tells the story well, and shows Wilson with some of his best lyrical work.

Good album, but not very prog and their are certainly better albums to start with.

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