Deadwing | 
| Artist: Porcupine Tree
Label: Lava
List Price: $13.98
Buy New: $9.78
You Save: $4.20 (30%)
New (37) Used (17) Collectible (5) from $5.99
Rating:  179 reviews
Sales Rank: 6630
Format: Enhanced
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 93812
UPC: 075679381224
EAN: 0075679381224
ASIN: B0007XT87G
Release Date: April 26, 2005
Availability: Usually ships in 1-2 business days
Shipping: International shipping available
Condition: BRAND NEW Factory Sealed - Ready to be shipped within 24 hrs from California - Average 5 workdays delivery time - Excellent customer service - Buy with confidence!
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| Tracks:
| • | Deadwing | | • | Shallow | | • | Lazarus | | • | Halo | | • | Arriving Somewhere But Not Here | | • | Mellotron Scratch | | • | Open Car | | • | Start of Something Beautiful | | • | Glass Arm Shattering |
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| Editorial Reviews:
Amazon.com
Before the Mars Volta made prog-metal fashionable again - with a little help from the Dillinger Escape Plan and My Chemical Romance - Porcupine Tree's 2002 US debut, In Abstentia, had already laid most of the groundwork. For the middle-aged British quartet led by Steven Wilson, '70s rockers like Rush and Yes (with whom the group toured after the album's release) never went out of style but instead left behind grandiose scriptures to be studied for all of eternity. So while tighter and more efficient in spots ("Shallow," "Halo"), Porcupine Tree's Deadwing faithfully keeps the technically proficient epics coming, peaking with multi-tentacled 12-minute "Arriving Somewhere (But Not Here)." --Aidin Vaziri
Album Description
Porcupine Tree defies categorization. This unique London-based quartet make unconventional, uncompromising music that qualifies them as Europe's premiere art-rock cult band. Porcupine Tree's cogent musical personality is a force to be reckoned with. Porcupine Tree's intelligent and accessible sound will appeal not only to metal enthusiasts and twenty-something dark wave fans, but will also fit in with today's more adventurous alternative station playlists.
Album Description
Porcupine Tree's 2005 album includes a secret bonus track, 'She Moved On'. Featuring guest appearances by Mikael Akerfeldt of Opeth, and Adrian Belew of King Crimson. the hidden track is just a partial re-recording of Lighbulb Sun's 'She's Moved On'. Lava/Atlantic.
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| Customer Reviews: Read 174 more reviews...
 If you loved "In Absentia", then you should already own this May 1, 2005
Dan Solera (Chicago, IL USA)
141 out of 155 found this review helpful
If you haven't heard anything by Porcupine Tree, then this album is a perfect place to start.
Following in the large footsteps of their groundbreaking 2002 release, "In Absentia", Porcupine Tree has crafted yet another masterpiece. With "Deadwing", songwriter Stephen Wilson has mastered the art of blurring the lines between genres. The album further develops the unlikely combination of progressive metal's heavy guitar crunch with the warm passion of radio-friendly pop-rock, always retaining that vintage Porcupine Tree psychedelic and effects-driven ambience.
Combining a trance-like atmosphere with pounding guitar riffs is a daunting task if you think about it. Yet Porcupine Tree has managed to perfect a remarkably organic sound that they execute almost effortlessly. Even fellow prog-rock juggernauts Spock's Beard have distilled and one-dimensional songs that never take off with imaginative fireworks. Other bands, like the hyper-progressive Magellan cram as much musical firepower as they can into every song to the point that it makes your head ache. Stephen Wilson and the `Tree keep every element in check and make "Deadwing" come alive.
All the innovative elements of "In Absentia" are here: heavier songs, a greater focus on Wilson's guitar work and singing, and a profound emotional depth. Heavier pieces like "Shallow" and "Halo" emphasize the guitar and, surprisingly, the bass lines rather than the synthesized elements of earlier albums, giving the songs a more authentic sound and an added appeal. This convention is comforting, really. The British band's earlier recordings contained songs that were simply ambient sound with little or no apparent instrumentation.
This is not to say that the album is heavier on the whole. Although some come close, no song ever reaches the intensity of their previous album's face scratching "Wedding Nails". The overall heaviness of the album is kept slightly lower than its predecessor by certain standout tracks. The tear jerking "Lazarus" is guided by a cheery piano, accompanied by Wilson's soft, vulnerable voice. The album's hidden track, "Shesmovedon" (a remake of an earlier song), is another classic Porcupine Tree gem - acoustic guitars layering Wilson's harmonized vocals, soft-to-angry guitars, and a heartbreaking narrative ("She changes every time you look, By summer it was all gone - now she's moved on"). It's easy to compare the album's painfully melodic textures to mainstream artists Pete Yorn and Colplay, musicians who are rarely described as heavy or aggressive.
The majority of "Mellotron Scratch" is led by a repeated guitar line (very reminiscent of earlier, trance-like albums), but builds in intensity until it is a straightforward rock number, ending with a beautiful vocal arrangement. Similarly, "Glass Arm Shattering" leads you across its landscapes with a slow, repeating twang, stopping occasionally to let Wilson's delicate, almost feminine voice take the spotlight. Although not a spectacular cut, it follows the format.
But the album's truly outstanding pieces are also the longest. The title-track almost touches the 10-minute mark and exemplifies everything that makes Porcupine Tree such a noteworthy creative force. The song is framed by a repeated keyboard and a pounding bass line, joined by a reckless guitar and fast drums. Like most of the other offerings on "Deadwing", it is both catchy and technically challenging. In addition to exploring the trance-inducing textures that have characterized the band's catalogue, the song flaunts the edgy, bleak voice of Opeth's frontman Mikael Ǻkerfeldt.
And now we come to the album's magnum opus, the song everyone's talking about - the multi-dimensional "Arriving Somewhere (But Not Here)". The piece is a musical feast of every Porcupine Tree element thus far, and at 12 minutes it feels more like a generous buffet. It begins with a hypnotic keyboard/synthesizer duo, which is later joined by an ominous guitar and the dual attack of Wilson's and Ǻkerfeldt's morose voices. At the 4-minute mark, the song erupts with drums and a simple but impressive guitar solo. From here, the song builds in intensity, adding layer upon layer of guitars and keyboards, coming to a maddening halt around the 9-minute mark, where Ǻkerfeldt's guitar work shines in a soothing, bluesy solo. The song finishes brilliantly, fading with its original melody.
The cynical listener may chime in by claiming that "Deadwing" is a clone of "In Absentia" with a few bonus tricks. To be perfectly honest, it's a decently accurate description. But replicating "In Absentia", a modern masterpiece in the inscrutable arena of progressive rock, would be impossible. Porcupine Tree have taken a canonical album and explored the limits in each direction. The work is truly a five-star effort and a reassuring deposit into the constantly evolving world of progressive rock.
See also: Porcupine Tree - "In Absentia", Opeth - "Damnation"
great! May 15, 2005
Lord Chimp (Monkey World)
27 out of 36 found this review helpful
Porcupine Tree has adapted the "hard" core of its sound -- crafty, somber alt-rock with great vocal harmonies and narcotic atmospheres -- very well to its heavier fix. The last album _In Absentia_ was outstanding, and _Deadwing_ follows up strongly. As always, there is a measure of balance: "Lazarus", with its lyrical pianos and tasteful string & choir mellotrons, is one of the most beautiful songs in their repertoire yet; the band's most flesh-hungry, heavy riff in the middle section of the 12-minute "Arriving Somewhere But Not Here" and Adrian Belew's (from King Crimson) gruesome solo on the title track tend to cut into the band's softer demeanor with sharper angles. The album does not seem to progress beyond the band's previous output -- it instead seems to fuse _Lightbulb Sun_ with _In Absentia_. Yet, while not anywhere near surprising as was _In Absentia_, the band's musicality and Wilson's craftsmanship (in song and production) are of the highest caliber in the rock world. Definitely get it!
Musical Perfection April 26, 2005
D. West (Pittsburgh, PA.)
19 out of 26 found this review helpful
Absolutely ridiculous,awe-inspiring,stupendous,unbelievably amazing how-good-these-musicians are!! I had to get someone to peel me off the wall. Porcupine Tree,without a doubt,leaves most bands out there today choking on the Tree's dust. I'm not gonna break this album down, I'll leave that for the so-called "critics." But, I must add; Steven Wilson is a master producer and musician. Gavin Harrison's drumming really shines for me. If you buy anything in the next few minutes, make it this beauty. Peace.
Continued brilliance from The Tree April 26, 2005
R. Gorham
18 out of 22 found this review helpful
THE BAND: Steve Wilson (vocals, guitar, creator, mastermind and main song writer behind PT), Richard Barbieri (keyboards and sound effects), Colin Edwin (bass), Gavin Harrison (drums & percussion).
THE DISC: 10 songs running at approximately 70 minutes. Liner notes include lyrics, assorted obscure pictures and thank you's. Video: "Behind The Scenes Video Montage" (Approx 7-8 minutes). There is an extended version of "Deadwing" with a limited edition 72-page booklet containing mostly pictures that you can buy at PT's concerts or on their website (if still available). 2005 - Lava Records.
COMMENTS: "Dead Wing" is a great album, but on first listen I could not put it on the same lofty perch as "In Absentia" or "Lightbulb Sun". With that being said, this album has grown on me over many months and it's now on the same level. It also helped seeing The Tree live (Arizona Beach Club, 10/25/05) and the songs from "Deadwing" rocked (especially "Halo", "Arriving Somewhere But Not Here" with an incredible jam in the middle, and the stunning concert starter "Open Car"). Porcupine Tree is a unique pleasure to listen to. Often complex and varied, and rarely played on the radio waves. Maybe that's why so much of PT's catalog is still fresh - the songs are never overplayed. The band members are all master craftsmen. Steve Wilson (guitars & vocals) is the mastermind behind the band... and his genius once again shines on "Dead Wing". The new "Dead Wing" picks up for the most part where "In Absentia" (2002) left off... hard to define... covering many a rock genre - pop, rock, hard rock, electronic, soft rock ballads, 70's psychadelic rock, etc. I believe "Dead Wing" falls more in the 'rock' music category; more so than some of their more progressive material in years past. Wonderful vocals telling cusious stories. Brilliant guitars. Complex drumming and hi-hat work; no tom-tom left unused. Wonderful synth sound effects and piano. Stellar sound production as always, with crisp highs and deep lows. There are so many lush tones and layers upon layers of sounds - I honestly feel you'll get the best listen with high quality headphones. Porcupine Tree is easily the best band to (practically) never hit the radio. The 12 minute "Arriving Somewhere But Not Here" starts out slow with the rest of the band joining the song as it builds... this is my 1st favorite song on "Dead Wing". Others include "Shallow" and "Halo" - hard rockers; with the mellow "Lazarus" tucked nicely between the two. Here's to hoping the next PT album doesn't take as long as this one to be released. Great disc (5 stars).
Like Rolling Over in Bed January 27, 2006
Lonnie E. Holder (Sullivan, Illinois United States)
18 out of 20 found this review helpful
How one progressive rock group can continue to release music that delights me each time is beyond me. This group makes it seem so effortless, like rolling over in bed. Then we have to describe each work of art for the next person following, always just a little short of being able to embody the artist vision with words; once more into the breaches, my friends.
The title song is a twisting and winding thing the moves in and out and runs ahead and falls behind, makes me want to lose my mind, but it is too late, my mind is already lost. This song is less bizarre and psychedelic than some of the Tree's other work, but it has a lot of change ups in speed and style, which make the song challenging to hear. I do hear some Tool-sounding moments, but I also catch some 70s King Crimson flavors that are intriguing and interest; a spice to this wonderful progressive stew.
The following song is a Ford F-150 in comparison to the sports car sound of the first song. "Shallow" minimizes synthesizers in favor of heavy guitar tracks and a hard-driving rock sound. However, there is an interesting keyboard inserted in the midst of the guitars to remind everyone that it may look heavy and sound heavy, but it is still the Tree.
The next song is poetically awesome, with wonderful music to match. I could listen to music like "Lazarus" forever, with a little water and food to keep me going to a blissful end. This song is wonderful, and I know I do not understand the lyrics. The music draws me in and makes me feel melancholy and longing for something and a fear of ethereal beings and times that lie beyond the veil of what I see and feel. Truly, "...moonlight is bleeding from out of..." my soul.
It is time for a changeup ("Halo"). Let the music churn you; grind and grate and wake you up! "Halo." The numerous little complex touches in this song just scream that this is anti-Britney Spears music. Give me more! Give me more! "Halo."
Then follows the song that everyone in the progressive world, or the Porcupine Tree world, or both, has been talking about, "Somewhere But Not Here." The lyrics on this wonderful song are surreal. The music varies from ethereal and contemplative to expositive, with the feeling that just around the corner is a great revelation ready to be revealed. This song is one of the best on this CD, and is also one of the Tree's best songs. Similar to the song "Gravity Eyelids," this song really explodes about halfway through, switching between a hard rock sound and progressive rock sound, until the song switches back to a slower, more cerebral interlude that includes a wonderful acoustic guitar. The song wraps up with two minutes of speedy music, as though the group was trying to slip in a few more musical points as the song was trying to end itself. This song consists of wonderfully imaginative music.
I am a huge fan of the mellotron, back to Moody Blues' heyday, and "Mellotron Scratch" took very little to be one of my personal favorites from this CD. The song is introspective in Porcupine Tree's most charming and endearing way. The vocals are poignant and pull you into the singer's melancholy. The song does have a brief moment of exuberance at the beginning of the last third of the song before settling back for a quiet close.
Back into some pound rock is "Open Car." The lyrics remind me of the Cars, but the music is crunchy and solid until the wonderful harmony just before the soaring refrain, which I love. Crank the stereo up really loud in preparation for the refrain, just watch the subwoofer. The song finishes with a nice acoustic guitar and quiet harmonies; a lament for a love that we knew was transitory even as it came to fruition. This song, the shortest on this CD, is a nice little tidbit to keep a listener from being bored.
"The Start of Something Beautiful" is another of those songs that make me long for a life where I can just lay back and listen to music. This song has variety of sound. There are ethereal portions that are solidly progressive; there are fast and hard portions that would feel at home in a mosh pit; there are jazz influenced portions that appear out of nowhere; and, as always, there are those vocals that make me wish I knew how to sing. Throughout this song counterpoint abounds, beginning with the drums that punctuate out of pace with the vocals and the backing music; another winning song in the Tree repertoire.
Porcupine Tree has a very solid and unique sound, but if ever there was a powerful influence, this song contains it, sounding similar to Pink Floyd. The music and the vocals are thoughtful and tender, caressing your brain with the fingers of mellow music. I saw someone say that this song was formulaic. So be it. This is a formula that I can listen to again and again, and never grow tired of it.
This version of this CD ends with a remake (remix?) of "Shesmovedon," a song which has some of the most mainstream moments that Porcupine Tree has ever recorded. However, make no mistake, this song is a good PT song, and is a worthy addition to this album.
I have seen others describe this album as "In Absentia II." It is not. Porcupine Tree is the same group, and there are identifiable aspects to the group's sound, but this album is as different from "In Absentia" as it was from PT's other music. More importantly, it contains excellent music and continues to belie the rumors that progressive rock is dead.
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