Customer Reviews

In Absentia

5 star:		(240)
4 star:		(38)
3 star:		(16)
2 star:		(3)
1 star:		(1)

 

 

This is perfection. I need to be careful to contain my enthusiasm about this album or my review will be nothing but a maudlin glorification heavy on superlatives but low on actual, uh, 'reviewing'. But...this is a masterpiece. That's enough for me, but I will go on...

It is a concept album, which seems to be trendy all of a sudden. I barely even care when I hear a band I like is making a concept album these days, although it used to get me excited. _In Absentia_ gets the thumbs-up though because the story is actually VERY good. The chilling tale could entirely be peripheral depending on the listener, but to those interested it will find it is an integral part of this powerful record. Telling the story of a child growing up and becoming a serial killer, _In Absentia_ is dark thematically and musically. Bandleader Steven Wilson's lyrics have never blown me away until now. This album deals with some unpleasant subject matter, all rendered with great poetry.

The music, likewise, is remarkable -- and then some. "Blackest Eyes" is the first song on the album -- an almost childlike reflection of the future psycho's condition, and the blend of heavy riffs and plaintive acoustic strumming resonates the protagonist's disposition. When I say "heavy riffs" there, I seriously mean heavy - the crushing power chord strikes and monster distortion reminded me more of Tool than Porcupine Tree. But the song slips perfectly into the familiar, exquisite sonics of PT as well.

This dichotomy is seen elsewhere in the album as well, perhaps most notably on "Gravity Eyelids", with its harrowing build-up to an evil, Opethian guitar riff. "Wedding Nails" is a stunningly executed and composed progressive metal instrumental. "Strip the Soul" is gritty and punishing and enfeebling. Wilson definitely integrated a much heavier sensibility in this album, which surprised me as a longtime PT who had never heard the band do anything like this. It also blew my mind because it was done so well. And yet, countervailing this heavy side are some of the most gorgeous, sublime moments ever recorded - by this band or any other. "Heartattack in a Lay by" is a creepy, lonely nocturne that makes me shiver without fail every time I hear it. "Trains" is pop perfection and has not one, but two melting guitar solos. The finale, "Collapse the Light into Earth", is transcendental in beauty with string arrangements by XTC's David Gregory.

What's more? Vocal harmonies rivaled only by Spock's Beard, an impossibly good production, spine-tingling guitar solos, and a godly new drummer (Gavin Harrison, aka MASTER).

The production is freakin' amazing. Just amazing - probably the best I've heard. The texture, clarity, effects, power, stereo mixing, and inventive recording techniques make this album pure bliss to hear. And that's before you even put the headphones in - then you discover a whole new world of aural magnificence. Steven Wilson's studio wizardry on this record has me drooling to think what he has done for the next two Opeth albums (_Deliverance_ and _Damnation_).

_In Absentia_ blew me away from the first listen, which is not really uncommon. New things are exciting, after all. However, each subsequent listen only enhanced the intensity, never threatening to dilute it with the passing of time. This is utterly divine songcraft matched by almost nothing, and time will only make it greater.

Wow..

In Absentia by Porcupine Tree may just be the finest album to come along in a long, long time. Trying to describe this album in terms of sound is difficult--think of a band with the vocal harmonies of early REM, the atmospherics of Pink Floyd or Radiohead, and the metallic sound of 70's era King Crimson or Tool. And yet, it sounds totally different from any of them.

Steven Wilson lends a hushed, subtle tone to the vocals that belies the very dark lyrics of In Absentia. The album is supposedly about a child that grows up into a serial killer, although the concept is somewhat vague. Wilson comments on society quite a bit--take The Sound Of Muzak, for example, which targets the state of today's music and how dehumanized and sterile it is becoming, complete with quite a catchy chorus.

The instrumentals are truly awe-inspiring. Supposedly this is Porcupine Tree's heaviest album, drawing on Wilson's collaboration with the Swedish metal band Opeth (which is how I heard about Porcupine Tree, in fact). The music alternates between delicate, soft textures and harmonies to heavy, complex riffs without feeling the least bit forced. The band is equally at home playing beautiful ballads (Collapse The Light Into Earth, Trains) as it is playing crunchy metal (Wedding Nails, The Creator Had A Mastertape).

As far as the album itself is concerned...well, you have to hear it to believe it. I've heard precious few songs that are as deeply affecting as Collapse The Light Into Earth, and Strip The Soul and Gravity Eyelids are two of the best songs I've heard this year. If you aren't excited after listening to the opening riffs of Blackest Eyes, check your pulse.

In a world of commercial garbage, we desperately need more bands like this. In Absentia is HIGHLY recommended to all listeners.

Note: Be warned that the enhanced video version can behave a bit wonky on some PCs. The video for Strip The Soul is indeed nice, but if it was left off or placed on a separate CD that would've been better. No big deal, though.

THE BAND: Steve Wilson (vocals, guitar, mastermind behind PT), Richard Barbieri (keyboards and sound effects), Colin Edwin (bass), Gavin Harrison (drums - replacing recently departed Chris Maitland).

THE DISC: 12 songs running at approximately 68 minutes. A 14-page booklet containing song lyrics and assorted pictures with faces scratched off. All words and music written by Steve Wilson (and 2 songs are cowritten by Barbieri and Edwin). Video: "Strip The Soul" playable on your PC. An import of the same album is available containing 2 bonus tracks ("Drown With Me" and "Chloroform"). 2002 - Lava Records.

COMMENTS: Hands down, this is my favorite disc from 2002. It stayed in my car CD player for a month when I first bought it. Perfect in most senses... crisp flawless production, wonderful vocals and harmonies, fantastic musicianship, and great song writing. Porcupine Tree, in my opinion, has always been hard to classify - definitely progressive, rock infused, beautiful instrumental moments painted thru song that wisk you away to somewhere else. Most anything from PT's library begs to be listened to with a nice set of headphones (deep rich textured guitars, layers of vocals, and sound effects galore). There are a few "pop" tunes that perhaps should have made it to the FM airwaves... "Trains" is the best 'pop', and "Blackest Eyes". I sit and scratch my head and wonder - why the heck aren't these guys more popular? Lyrics on "In Absentia" are twisted... a concept album following a serial killer from childhood. If you saw The Tree in concert on this tour, you'd have seen the slide show while the band played - and the complete picture of the album cover - it's the main character losing his mind. New drummer Gavin Harrison doesn't miss a beat and dare I say he's as good or better than his predecessor. Having seen many concerts and always gravitating towards the drummers... I put Harrison right up there with the chops of Neil Peart and Mike Portnoy. Songs are soft, then hard, then soft again... covering all aspects of music. If track one's "Blackest Eyes" doesn't grab you with it's driving guitars in the first 60 seconds of the song, than nothing will. The acoustic "Lips Of Ashes" and piano tune "Heartattack In A Layby" are simply beautiful. The bass guitar steals the show with songs "Strip The Soul" and "3". I have most (10) of PT's discs and this is my new favorite. The video ("Strip The Soul") that comes on the CD is dark, atmospheric and disturbing. It reminds me of those whacked-out hospital dream scenes from the movie "Jacob's Ladder" with Tim Robbins. Eerie, but cool. Every song on "In Absentia" is wonderful - absolutely no filler to be found. In my music library of over 1300 discs, this one is easily in the top 5. Addicting... a great album. *Also - if Porcupine Tree is touring in a city near you - go see them live... they are equally impressive on stage!

I have always heard of the name Porcupine Tree when I started getting into the modern-day progressive rock bands, but I had never heard anything by them and was skeptical whether or not they'd be any good. A few weeks ago, I bought a copy of their latest album IN ABSENTIA and was intrigued by the sound clips. This was some really heavy stuff, yet further info led me to discover that PT were a more mellow prog band on their earlier albums. You would never guess that from the blistering opening track "Blackest Eyes."

What Porcupine Tree have done on IN ABSENTIA is a truly remarkable achievement. By bridging the gap between old-school prog. rock and modern-day progressive metal and throwing in some melodic pop/rock for good measure, they have created a totally unique sound. There are some stunningly beautiful moments on this album, and some of the most intense moments I've ever heard. Yet, it always remains consistent and the album flows incredibly well. How else can you explain that the gorgeous "Heartattack in a Layby" is followed by the dark and punishing "Strip the Soul"?

The album begins with the aforementioned "Blackest Eyes," which expertly combines big, crunchy metal riffs with catchy harmonies and stellar acoustics. The song smoothly segues into "Trains," my personal favorite off the record. This track just might be the greatest pop song ever written. The two solos - one on acoustic guitar and the other on banjo - fit in perfectly, and Steve Wilson's vocals are heartbreaking and emotional, especially when you read the lyrics. After this great one-two punch, the song quality continues.

The excellent "The Sound of Muzak" is a slashing commentary on today's music industry, with clever lyrics and solid drumming. The 8-minute epic "Gravity Eyelids" starts off slowly with some innovative ambient samples and soundscapes that mesh wonderfully with Wilson's dry vocals, and around the 4 minute mark, a seriously heavy riff kicks in and the band rocks out for the remainder of the track until the ambience is repeated again at the end. The complex instrumental "Wedding Nails" is another rocking highlight, sounding like Black Sabbath and King Crimson jamming in the studio together. Nobody seems to have mentioned the beautiful ".3," but I think it's a mesmerizing, hypnotic song that conveys a lot of emotion through it's two lines of lyrics than anything else (one of them is my review title).

Unlike a lot of prog bands, Porcupine Tree's musicianship is used to serve the song rather than merely show off, but they still play great. The drummer Gavin Harrison is an absolute monster, laying down some killer grooves and playing some pretty speedy fills, especially on the industrial-like "The Creator Has a Mastertape." The guitar work is also fantastic. The tone and feel the riffs and solos are absolutely astonishing. The production is also top-notch, courtesy of Wilson as well, who also produced the last three Opeth albums (guess that's what inspired him to have the guitars heavier this time around).

IN ABSENTIA is a solid slab of classic progressive rock and deserves to be in everybody's collection. I don't use the word "masterpiece" very often, but that's what this album is. Once you own it, you'll feel the same way.

What exactly is the fascination with band names involving random animals these days? I don't have an answer for that, but I'll cut Porcupine Tree some slack since they've been around since 1991 and "In Absentia" is one of the best records I've heard in recent memory.

Beyond any allusions to prog-rock or prog-metal that could be made about this band, lies songs like "Lips of Ashes," "Prodigal," "Blackest Eyes" and "Trains," each showcasing a band at the top of their game writing industrial-grade hooks that could bring down Godzilla. Prog without the apparent need to write lyrics about elves and eskimos, "In Absentia" combines the best of both worlds in its fusion of classic rock juggernauts like Pink Floyd and Black Sabbath with an unmistakably "alternative" feel, slipping between sparkling acoustic folk and crunchy power Sabbath guitar with a seamlessness that only foreshadows this album's "cult classic" status.

"Blackest Eyes" is the perfect opener: a very brief, chiming clean electric guitar signals the explosion of a brief, slamming guitar riff that segues right into one of the catchiest pop songs ever. "Trains" and "Lips of Ashes" follow, with the former's folky bent almost sounding like a '90s alternative take on something the Traveling Wilburys (a supergroup that included Bob Dylan, George Harrison, Jeff Lynne and Tom Petty) might have come up with, while "Lips of Ashes" makes use of florid, ethereal sound effects and guitar work to create an unforgettable mood. Elsewhere, the simplicity of "Heartattack in a Layby" conjures up pure sadness.

Of course, not everything's sunshine and gumdrops. Where something like Metallica's "Orion" can hold up for over eight minutes and not seem dull or forced, Porcupine Tree's instrumental "Wedding Nails" starts with one of the worst Satriani riffs that Joe didn't even write; nothing can really save it in six minutes and thirty-three seconds after this, although the song does move through several phases ranging from blistering to almost atmospheric and Middle Eastern.

Still, it's hard to stress what a breath of fresh air this album is in today's music world. Real melody, real thought, real good. Pick it up, and if you don't love it, give it to me so I can find someone with taste who will.

From the massive metallic opening riff of "Blackest Eyes" to the melancholic multi-layered finale of "Collapse the Light Into Earth" this albums is flawless. In Absentia, in my opinion, is the definitive Porcupine Tree album, it combines the darkness and heaviness of Signify with the pop sensibilites of Stupid Dream. Take for instance track two "Trains" which makes me weep as does "Heartattack in a Layby" two wonderful acoustic driven songs that cry out for repeated listens and will stick inside your head for ages. Then tracks like "Strip the Soul" and "Wedding Nails" which are heavier songs that show off their musicianship without delving into pretentiousness, the former which is disturbing lyrically and a little reminiscent of Tool musically and the latter an instrumental which is somewhat jazz meets metal, bad descriptions perhaps, but not many bands other than Porcupine Tree can jump from utterly beautiful to complex and heavy without sounding ridiculous. Why this band is not out there with their mugs on the front of Rolling Stone or NME and collecting rave reviews from all and sundry is a crying shame, then again any band tagged with the labed of "prog" is bound to be ignored by popular music mags. What an unfair world this is. Do yourselves a favour and buy this, it is by far the best album of the year.

This review is being written after hundreds of spins, and yet I'm still not sure I can do this brilliant album justice describing it. There are so many details, nuances and little secrets hidden on this disc that I'd feel rather guilty if I fail to mention them in my review; then again, I don't think it's possible to cover all its depths in a single review. This really is one of those discs you need to buy, give time, study its lyrics, pay attention to the excellent production, clever songwriting and magnificent musicianship.

Some Opeth fans think that ever since Steven Wilson has been producing Opeth albums they sound too much like Porcupine Tree in some aspects, especially recording techniques and stereo mixing-wise. Well, I'd like to point out that Wilson's collaboration with Opeth has certainly worked both ways; Steven Wilson has definitely absorbed some of their elements and seamlessly injected them in his own music with Porcupine Tree. This is, as many will agree, the heaviest Porcupine Tree album, and it shows right from the first track. "Blackest Eyes" perhaps contains the heaviest guitar riff Steven Wilson has ever played; it kicks in after the moody bass line a bit like a gigantic rock piece. The heavy approach is further developed on other tracks as well; on the longest song, "Gravity Eyelids", which begins really slowly with minimalist songwriting and tribal rhythms, there is a sudden shift of mood as Wilson plays this shuddering guitar riff (in the vein of Opeth) over Barbieri's experimental keyboard arrangement. It's the kind of riff you might hear on a Tool album, except that I'm not a Tool fan, but it works incredibly well here. Buy the album to hear this riff.

Steven Wilson's partner in Blackfield, Aviv Geffen, appears on two tracks, one of them being the highly acclaimed number, "The Sound of Muzak". This is one of those songs that I could identify with right away, because of its challenging bass line and despairingly intense shifts of vocal melodies. Moreover, this tune is about the current state of the music industry and its lyrics are terribly ironic, which recall Devin Townsend's "Earth Day" to me. John Wesley, who has toured extensively with Marillion in his career, also graces this album with additional guitars and vocals, and it's in your best interest to give his music a listen. The band's affinity to Pink Floyd is still evident on some other songs such as "Lips of Ashes" and "Prodigal". They are both outstanding works of songwriting, musicianship and vocals.

There are also two instrumental pieces here. Actually ".3" isn't entirely 'instrumental' as Wilson utters a few words, but other than that, it has no vocals. It sounds like this huge orchestra performing psychedelic prog; whilst, "Wedding Nails" is the band's testimony to creativity. New drummer Gavin Harrison rules this track as the song delves into stylistic changes, maintaining its moody and heavy edge throughout. I am utterly amazed at the band's musical performance; every prog band needs to listen to this track to understand it is possible to write long instrumental songs without being overtly technical. The slower songs add to the album's diversity. "Trains" is a wonderful song built around acoustic guitars that pick up near the end thanks to the majestic drumming, "Heartattack in a Layby" and "Collapse the Light into Earth" both start with sparse piano notes and Wilson singing the most amazing vocal melodies you could imagine. His voice makes my soul cry; it's full of passion and intensity.

"The Creator Has a Masterpiece" and "Strip the Soul" see the band going back to its new-found heaviness. They are among the most progressive songs of the album full of schizophrenic melodies, frenetic interplay, some electronics and echoed vocals. Colin Edwin's bass is so integral on these tracks that it's the bass that carries the song's speed. "Strip the Soul" encapsulates a sense of brutal beauty (hence the Opeth element, in my opinion) and another personal favourite of mine.

I own the European edition of this album with a bonus disc containing three tracks and a video. The songs are as good as anything else Steven Wilson has written, so if you're a die-hard Porcupine Tree fan, this version is highly recommended. I've been listening to this album since its release, and still give it regular spins. This is a great album that has aged well and stood the test of time for me.

I am 53 years old, a guitar player & multi-track recordist. I know late sixties and seventies rock music inside-out, upside down. It was a major part of my life... and has remained so as a serious hobby. Amidst just enjoying the fun rock stuff, I always preferred the more artistic / interesting efforts; which unsurprisingly was more prominent in prog rock. That's no news to anybody reading anything here, so nuff about that.

I have largely been disappointed in the direction that rock took since ~ 1980 because it chose to pretty much abandon or ignore any progressive flavour in it's promoted new path. And... I also find it a CRIME that the "so called" Rock and Roll Hall Of Fame DOES NOT HAVE ONE Prog Rock inductee. [ i.e Don't tell me that (for instance) a storied band like Yes, long in career, doesn't belong there ahead of.... you pick one.]

Anyway, like most of you, I am particular in my taste for what I like. Music is a personal thing. I like pickles on my hamburger, you don't. But we both like a great hamburger.
Anyone taking the time to write a review on this album has something in common with everybody else (who took the time here). And I must say, this album DESERVES the time !!

I am really enthused to hear what I just heard here for the first time! HOW FRIGGIN' REFRESHING !! My faith is suddenly restored ! I just finished listening to 'In Absentia', and I'm now listening to 'Deadwing'. And I can't wait to tell my "fellow 53-year-old dinosaur friends" about this.

Prog rock fans: Rock is no longer adequately represented in garbage events like the Grammys, and most of radio pretty much does what the vacuum cleaner does. We don't need any of that as long as music like this is being created and magnificently produced. Buy it, and run with it. You're gonna like it. VERY CREATIVE, dynamic musicianship with amazing sound quality !

One little note: People always draw some comparisons, which is normal. Just a minor thing that hit me...
...the voice in a couple spots during the mellower parts of the 1st half reminded me of Lol Creme's voice during his tenure with 10CC (who were a very creative band though not considered progressive).

Cheers!

In an era of the music entertainment business where you find "other" bands in the top ten (I won't go over them) it is fair to say there is still a "Glass Ceiling" of sorts when it comes to bands like Porcupine Tree. They certainly deserve every ounce of recognition for being survivors. When you think about their history, how many different INDEPENDENT record companies have the band alone been through before signing to Lava? Too many to mention. And we won't even get into the countless stupid music critics who never saw anything appealing about the band but to just poke fun at them. Most bands would have died a premature death because of failure to appeal to mainstream and media. What we have here is a philosophy (with a few exceptions thrown in for good measure) that hasn't been seen in rock field since the late 60's. No, the music industry shouldn't be JUST about money. Although when you look around 15 months after the release of In Absentia you would think this revolution in mainstream music would at least see some sort of breath in America, if only for a nanosecond. But alas that has not happened. Americans are just too consumed by the possiblity of becoming rock star millionaires overnight. The fact that rock music is being made all over the world to listen to and think about never crosses their minds anymore. Just the almighty dollar and how much they can squeeze out of their musical piece of crap. So what you have repeatedly seen are record companies that continue to sue file share/swapping kids because they are losing record sales because the artists are not happy making a few hundred thousand dollars. The fact really is though, records don't make artists THAT much money. Surprise, it is the record company. The money an artist makes nowadays is by touring. So there claim that file swapping hurts the artist is not at all truth. And money grubbing artists just lap it up. Hum, I wonder if record companies ever thought the REAL reason for record sale decline is just in the fact that what the bigwigs are releasing as music these days don't even deserve radio rotation little alone a purchase at the local FYE music store...Yet mainstream radio hold record companies hostage and continue to ignore Porcupine Tree mostly stating that they are far too left field for the marketplace. One of the Wonders is going down and it will be the demise of mainstream music. AOL/Time Warner are going to sell their movie/book rights and I am sure in a few years will sell their music rights as well, because while it makes them money, it doesn't make them billions. Good for them, and perhaps that will change the midset of mainstream radio for forcing record companies and the average Joe to buy Evanesence(dought it though). In the meantime, all other talented bands will be mapped forever on the other side of the Glass Ceiling because music critics and radio say so. At least we have In Absentia on the mainstream side. A rare commodity because media and radio have had their cheek turned the other way about Porcupine Tree since the release of The Sky Moves Sideways back in 1995. How long will this last? Not looking good because the "Unnoticed Musical Revolution" is going on in the United States just as I predicted it would before In Absentia's release back in 2002. This album should be selling millions and instead has sold a fraction of that. A few hundred thousand at best. Will Lava dump Porcupine Tree? Let us wait until the next album for that, of not before.

Oh yeah, about In Absentia, the music. Worth the price of $11.00, believe me. This is music that is meant to be played on a nice Hi Fi. Not an MP3 swap...Yes even those who prance around screaming Radiohead and Coldplay (boneheads) as the survivors of British Rock would even have a change of heart if they heard this without the (dare I say it) any influence from the ignorant music critics. And I know Porcupine Tree's track record with mainstream music critics. Not too good. If you have read this far (and I dought that many have) all I ask is that YOU listen to the album without prejudices or preconceived notions. Just listen to the DAMN THING already...

Look for Stupid Dream and Lightbulb Sun, both previous releases to be out in 2004 on Lava. And a 5.1 release of In Abesntia coming out next year too. Ah, I think I will put my headphones on and listen to In Abesntia. Good Night.

Porcupine Tree were, up until their debut on Lava Records with the groundbreaking "In Absentia", known for being something of an underground, prog-psychadelic band. Their sound was very soft rock, and the band seemed to prefer liquid soundscapes over heavier music. However, Signify bridged the gap between the psychadelic and rock mentalities, producing an album of extreme importance for both music and Porcupine Tree's musical progression. Stupid Dream and Lightbulb Sun perfected this new, harder edge, but it was only on the band's seventh LP, In Absentia, that things really broke out. Starting with the screaming metal of Blackest Eyes to the lullaby orchestration on Collapse The Light Into Earth, Porcupine Tree had truly grown up. The band was now performing tighter and much more professional tunes than ever before, and their sound was better than ever.

This breakthrough hit in America (selling over 100,000 units in its first year, more than the collective PTree catalogue combined had sold up until that point) gave Porcupine Tree much more of a mainstream focus, yet the band never sacrificed artistic integrity: the album is by far their most complex yet, and is without a doubt a modern-day masterpiece.

The album, under song by song analysis:

1.) Blackest Eyes- This single is by far the most popular Ptree song, even over Voyage 34 and Radioactive Toy. Blackest Eyes opened the door for Porcupine Tree to bridge the gap between good and (relatively) mainstream music. The song is important, and is also a really amazing track. 5/5

2.) Trains- This may be my favorite song on the album. The guitar work is amazing, Wilson's voice causes tears to well up in your eyes, and the gliding bassline and drums cause this tune to grow to epic proportions. Amazing. 5/5

3.) Lips Of Ashes- Cleanses your palette of the first two amazing songs, and slows things down a bit. Really mellow, and very emotional, this song will have you floating. 4/5

4.) The Sound Of Muzak- Another "single", this song is really awesome. The guitar pattern will get you thinking, and the song really flows through you, especially the vocals. Just turn it on, and play it loud. 5/5

5.) Gravity Eyelids- I can't keep giving out these five out of five scores, but every song is just so amazing on this record, especially this one. Gravity Eyelids brought my attention to PTree, when I saw them perform this song live in front of me, opening for Yes in Rochester. Absolutely jaw-dropping, and astounding. 5/5

6.) Wedding Nails- Instrumental #1, this song is one of Ptree's best, with shredding guitars, and a bassline to die for. Compared to previous Porcupine Tree instrumentals, its easy to see how much the band has grown. Really play it loud. 5/5

7.) Prodigal- This song is one of the commercial Ptree tunes, shall we say, with an easier arrangement, but by far a very compelling track. Not my favorite, but definitely doesn't take away from the appeal of the album at all. Again, like all PTree tracks, the vocals are heavenly. 4/5

8.) .3- This and Strip The Soul seem like they are meant to be together, almost like this is the orchestrated introduction to that track. A very nice palette cleanser, again, and really makes you float on cloud nine while listening. 4/5

9.) The Creator Has A Mastertape- The bassline carries this track, while the keyboards add amazing sound to fill it out nicely. Starkly different from the other tracks on the album, this song is really awesome, and will get you rocking out fast. Blast this one til the neighbors call the cops on you. 5/5

10.) Heart Attack On A Layby- Its amazing that a band who can create such powerfully metal tracks can calm down into an aural masterpiece like this. The lyrics tell a devastating tale (I'm sure you can guess) while the guitars and harmony vocals really get the emotions flowing. An extraordinarily powerful tracks, sure to have you in tears by the end. 5/5

11.) Strip The Soul- The climax of the album, with the next track as a nice coda. This song is the most complex on the album, in terms of arrangement, with a myriad of guitars, vocals, orchestra, and amazing drums and bass parts respectively. The song begins to drown itself in the end with near-completly distorted instruments, until it trails off, leaving the listener exhausted, in a good way, really preparing you for the last track. 5/5

12.) Collapse The Light Into Earth- Devastingly emotional. This song makes you feel so empty, as if the character of this concept album has absolutely hit rock bottom. Even more emotional is how the narrator seems to find some peace in that bottom, and how everything seems to be in balance in the end. You'll be speechless. 5/5

Overall, buy this album- its well worth the price, for over an hour and more of music, the Strip The Soul video, and songs that will really put you over the edge emotionally. You're going to love this album if you love good music, because this album is exactly that- prepare your music shelf an extra space for this masterpiece.