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101 of 116 people found the following review helpful:
5.0 out of 5 stars
MON THE TREE, April 25, 2007
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.
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43 of 50 people found the following review helpful:
5.0 out of 5 stars
Wow--No Need to Worry. You'll Love it, April 26, 2007
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.
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22 of 25 people found the following review helpful:
5.0 out of 5 stars
Best of 2007: Classic Porcupine Tree, May 19, 2007
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.
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