Fear of a Blank Planet | 
| Artist: Porcupine Tree
Label: Atlantic / Wea
List Price: $15.98
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Rating:  180 reviews
Sales Rank: 1016
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
MPN: 115900
UPC: 075678999444
EAN: 0075678999444
ASIN: B000O75F7C
Release Date: April 24, 2007
Availability: Usually ships in 1-2 business days
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Condition: Brand New - Factory Sealed - Shipped from Florida via USPS First class mail. We ONLY sell what we have in stock. NO back orders here.
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| Tracks:
| • | Fear Of a Blank Planet | | • | My Ashes | | • | Anesthetize | | • | Sentimental | | • | Way Out Of Here | | • | Sleep Together |
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| Editorial Reviews:
Amazon.com
On Fear of a Blank Planet veteran progressive-rock act Porcupine Tree takes up the task of exploring the alienating forces of the media and its impact on our youths and ourselves. Fear's titular cut features lyrics rife with allusions to the confusing, isolating effects of TV, the X-Box, drugged out consumer escapades, and the ennui that arrives with prescription and self-prescribed numbness. "My Ashes" advances the themes of isolation, as a young person becomes increasingly estranged from himself; "Anesthetize" aptly captures dull apathy with accuracy and knowing but perhaps delves to deep into the dark depths and instead of alleviating pain and pressure instead deepens it via a track that fails to offer much emotional or mental counterpoint. The tune does feature an exceptionally lyrical guitar solo from Rush's Alex Lifeson and proves that if anyone can write a sprawling, throbbing epic it's most likely Porcupine Tree. Elsewhere, such as on the beautifully crafted "Sentimental" and "Way Out of Here," Wilson and Co. land squarely between the epic grandeur of peak-era Pink Floyd and the psychically distant cool of Radiohead, a feat that doesn't as much demonstrate how well PT echoes those bands as it shows us how expansive the English quartet's music and emotional vocabulary is. For elder listeners Fear probably won't serve as the powerful statement it wants to be--its themes have been explored to more exacting impact before and, musically, it's fairly standard progressive fare--but it is a strong and intelligent album and for a generation that's grown numb from three-minute ditties about life at the end of the country club cul-de-sac that embrace rather than rage against the dying of the light, it may serve as a wake up call and provide hope for a brighter and more color-infused tomorrow. --Jedd Beaudoin
Album Description
This starkly beautiful elegy on the numbness, apathy, and isolation brought about by the constant barrage of television, video games, advertising, prescription drugs, sex, and violence of everyday life is emphasized by the symphonic arrangement of metal guitars, synthesizers, fat basslines, and virtuosic drumming.
Album Details
Japanese 2007 Release by the Veteran Progressive Band.
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| Customer Reviews: Read 175 more reviews...
 MON THE TREE April 25, 2007
Reverend_Maynard (Glasgow, United Kingdom)
93 out of 107 found this review helpful
For many, this is one of the big albums to watch in 2007. In certain circles, at any rate, there has been a lot of rather assuming talk, with phrases like potential `album of the year' thrown around. Ancillary to this, some of us were privileged enough to hear the entire thing in rough, prototype form live last year, and the textures and dynamics evident in some of the entrancing music we heard that evening certainly suggested something special waiting in the wings. Finally, a lot has been made of the fact that (supposedly) this album functions as one continuous 50-minute cycle of music, and that the lyrics deal pretty much exclusively with Wilson's fears that the younger generation is risking descent into intellectual torpor owing to their addiction to an oh-so lethal cocktail of prescription drugs, MTV, internet addiction and banal culture of necessary instant gratification.
For me, however, none of the above really has much bearing on the album itself. Sonically, the six pieces here (which are distinct enough not to flow together the way, say Light of Day, Day of Darkness does) present an interesting proposition. Crucially, the narcotic core of their sound has been left largely intact, with outrageously catchy melodies, dense, layered and painstakingly executed production, careful, wandering bass-lines and lush, intricate harmonies all present in abundance. There is a slightly more heavy approach evident, but overall the album is remarkably spacey and dreamy, with a lot of attention given to synth washes, soundscapes and somnambulistic melodies, all rather reminiscent of their The Sky Moves Sideways era. But this is juxtaposed with the tight songwriting and straightforward riffing of later releases. If their are any new elements, and I'm inclined to say there are, they emerge in subtle ways: Wilson's vocals, which have changed little over recent years, seem more brazen and stretched, while some of the melodies seem more intricate, more assured and composed, and take time for the listener to fully appreciate.
The title track turns on a riff that is highly reminiscent of `Deadwing', while the chorus has a kind of gentle brutality that is somewhat jarring. The rhythmic vocals over the verse have an interesting, pseudo-rap like quality. The outro is dreamy and unexpected. `My Ashes' is stunning, with that perfect verse/chorus interplay Wilson excels at, lush orchestration and nebulous, highly evocative lyrics. The wordless vocal which rounds off the song engenders a kind of urbane emotional atmosphere, a beautiful dignity.
And then to `Anesthetize', which stands well out of the crowd simply by virtue of being 17 minutes long! Live, this track was instantly memorable and impressive, and here it does not disappoint. Wilson seems to have shoehorned just about every facet of his remarkable music making skills inside. The four minute introduction is sinister, haunting and deceptively melodic. The four to around 11 minute mark is utterly replete with intricacies, yet never overblown: indeed, it displays an uncanny use of shifting dynamics and sustained tension, of the kind Tool have often used so effectively. A slow build is embellished by an ornate Alex Lifeson solo with a welcome exotic tinge, before the heavy riffing slides into view, along with a great, eerie verse and one of their most breathtaking choruses. Then we are hit with something pretty surprising at 11 minutes - suffice to say the song implodes in spectacular fashion, and the excellent outro is ushered in, all sepia tinged sunsets and darkened skies.
To follow that, the gorgeous `Sentimental' harks back to earlier albums slightly, with an intro reminiscent of `Collapse the Light Into Earth', and a breakdown towards the end which re-introduces the riff from `Trains' in slightly moderated form, a happening I've not entirely figured out. Despite this, the gentle lilt of the chorus is possibly Wilson's most effective evocation of sheer melancholy (no mean feat!). `Way Out of Here' is perhaps the most interesting song, a kind of psychedelic metal experiment, although `Sleep Together' pushes it close, a kind of apocalyptic industrial tinged nightmare, with lyrics seeming to equate suicide with sexual release.
Maybe not as much a massive leap forward then, as a consolidation, and certainly a near flawless, very tightly constructed album with a lot of depth, as the whole picture will take quite a lot of listens to emerge. Including only six songs does ensure welcome brevity and consistency. In many ways, which perhaps I've not entirely made apparent, this is their most complex record; at any rate, it is certainly extremely dense. Whether it is their best record, or album of the year is, however, open to debate. Nevertheless, it comes highly recommended.
Wow--No Need to Worry. You'll Love it April 26, 2007
R. W. Taylor (Woodland Park CO USA)
40 out of 45 found this review helpful
You know how worried you get that bands' subsequent releases are not going to measure up to the past? No worries here. This disk is simply amazing. Even for the "mellow fans" whose favorite song is Lazarus (from Dead Wing), there is something for you on FOBP. I read a past review that said this was HEAVY, HEAVY, HEAVY ... so I was a concerned it might be too Metal. No need to worry. It's heavy in that it's deep and lush. I love music that makes percussion an integral part of the experience--instead of just keeping time. The percussion in this is great even for PT.
I might be PT's oldest fan. Look for me at the front of the line in Boulder on 15 May. Can't wait.
Best of 2007: Classic Porcupine Tree May 19, 2007
Manny Hernandez (Palo Alto, CA)
22 out of 25 found this review helpful
After the less than impressive Somewhere Else by Marillion, 2007 was not looking too promising for prog rock fans. But Porcupine once more saved the day! Their "Fear of a Blank Planet" is a direct reference to the Public Enemy album, Fear of a Black Planet (1990) and it left me gasping for air after the first time I listened to it: so much musical power, so many layers of sound.
It can be hard to imagine that barely six tracks can carry the burden of prog rock on their shoulders, but "Fear of a Blank Planet" does this task almost effortlessly. Steven Wilson repeats the same lineup he's had for the past five years. Besides them, the band is accompanied by King Crimson legend Robert Fripp on soundscapes in "Way Out Of Here", Rush's Alex Lifeson on guitar in "Anesthetize" and John Wesley, who had previously appeared on In Absentia and Deadwing, also doing and producing guitar work.
The end result is an amazing prog rock album that leaves the genre breathing comfortably and one of the best albums of 2007.
Porcupine Tree get even better! April 5, 2007
Gobi Kalooki (California, USA)
17 out of 26 found this review helpful
Porcupine Tree have crafted two incredibly beautiful masterpieces: In Absentia and Deadwing. While those two albums are perfect in their own way, Fear of a Blank Planet blows both of them out of the water.
First of all, this album is HEAVY HEAVY HEAVY. It does have it's lighter songs like "My Ashes" and "Sentimental", but overall, this is definitely Porcupine Tree's heaviest album to date. The title track, "Fear of a Blank Planet" begins with a few light guitar strums, and then Steven Wilson's voice comes in and it booms into a field of crunchy guitars and madness. There is a bit of vocal experimentation in the title track (probably through a vocoder or something similar). "Anesthetize" is the heaviest and longest song on the album, and also the best; and the 20 second boom of chaos of guitars and drums rapidly playing around eleven minutes into the song will be sure to please all metalheads. It might even be Porcupine Tree's best song to date, surpassing "Arriving Somewhere but Not Here" on Deadwing. "Way Out of Here" is about as heavy as "Anesthetize", though less than half as long; it is one of the better tracks on the album. "Sleep Together", the album's final track, ends the album with a subtle amount of heaviness and a ton of psychedelia that will please fans of Porcupine Tree's much older and forgotten material such as Up the Downstair and Signify.
Overall, Fear of a Blank Planet is another masterpiece for Steven Wilson and his amazing crew. It's also one of 2007's finest releases already. If you're a fan of Porcupine Tree, this is an essential buy. If you only like their older material and cannot except the fact that Porcupine Tree have changed (for the better, in my opinion), then avoid this album. If you're a fan of progressive metal or progressive rock, you can't really go wrong. Rating this album anything less than five stars would be slander.
Tracklisting: (My album picks are denoted with an asterisk)
01- Fear of a Blank Planet (7:28) *
02- My Ashes (5:07)
03- Anesthetize (17:42) *
04- Sentimental (5:26)
05- Way Out of Here (7:38) *
06- Sleep Together (7:19)
A more atmospheric Tree April 25, 2007
R. Gorham
15 out of 16 found this review helpful
THE BAND: Steven Wilson (vocals, guitar, piano, keyboards), Richard Barbieri (keyboards, synthesizers), Colin Edwin (bass), Gavin Harrison (drums & percussion).
THE DISC: (2007) 6 tracks clocking in at approximately 50 minutes. Included with the disc is a 10-page booklet containing song titles/credits/times, song lyrics, odd/sad/haunting photos of somebody's kids, and thank you's. Guest artists included Alex Lifeson (Rush) - guitar solo on "Anesthetize", and Robert Fripp (King Crimson) on "Way Out Of Here". Strings performed by the London Session Orchestra. There is a limited edition 2-disc set available as well - the 2nd disc contains the same music recorded in 5.1 DTS sound (playable only in a DVD player) as well as a 40-page booklet. Label - Atlantic Records.
COMMENTS: Continued brilliance from The Tree. While "Fear Of A Blank Planet" didn't hit me on first spin like "In Absentia" (2002) did, it's still ultra fine music from PT mastermind Steven Wilson. Nothing new as far as lyrics go - still dealing with loneliness, rejection, a dark childhood, and a bleak future outlook. I feel "Fear" takes a step closer to the band's past - reverting back to "Signify" (1996) and perhaps "Stupid Dream" (1999) - giving you much more mood and atmosphere, and less rock & pop. Where "In Absentia" and "Deadwing" (2005) had more tracks geared toward the 4 minute "rock" song, "Fear" gives you 6 lengthy tracks (4 of the 6 songs are 7 minutes or longer... with "Anesthetize" just under 18 minutes all by itself). "Fear" starts off with the title track... I feel this song is oddly similar to "Deadwing's" title track. Though my least favorite track on the album, it's still a good rock song with a husky jam in the middle (though nothing groundbreaking). Track 2 is where the album takes flight for me. "My Ashes" starts slow with keyboards/piano and acoustic guitar... with orchestra and the rest of the band joining in later. Simply a beautiful composition. On first listen, "My Ashes" hit me hard... in the same vein as "Even Less" - one of my all-time favorite PT songs. "Anesthetize" is the marathon song - lengthy in all respects. As much as Lifeson's guitar solo stands out (his best work in 2007 is here, not on Rush's "Snakes & Arrows"), it's Harrison's drumming that intrigues me. In fact, Harrison's drumming throughout the album simply sparkles. "Anesthetize" features ups and downs and a wide range of emotions with some great guitar work from Wilson.. and this song is on par with PT's other lengthy hard driving jam tune, "Arriving Somewhere But Not Here" from "Deadwing". Through tracks 2 and 3, there are several moments where the keyboards/synth reminds me of Led Zeppelin's John Paul Jones' work on "No Quarter"... dark, eerie, perfect. "Sentimental" starts and closes as a pretty piano ballad with the band joining nicely in the middle... another wonderful song. "Way Out Of Here" is the moodiest track - thanks to Robert Fripp... a soft beginning and an extremely heavy ending. The closer "Sleep Together" starts out with a very industrial feel to it. But then it kicks in and synth/orchrestra takes over... giving it a holier than tho tone. "Fear Of A Dark Planet" has a slightly different flavor to it then their last 2 albums... maybe the new record label (Atlantic) had something to do with that (probably not - though Lava Records, Snapper and Madfish labels may be a thing of the past for PT); or maybe it's been Wilson's recent collaberative work with Aviv Geffen and their "Blackfield" albums which seem to be a bit mellower and more keyboard driven. Give this album time - it will get better with repeated spins. Either way, Porcupine Tree has the brains, the production tools, and the chops to release some great albums for years to come. Another excellent release (5 stars).
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