Deadwing is one of the more controversial Porcupine Tree albums (despite being the biggest selling), not least because it marked the continuing stylistic shift from the more progressive sounds of The Sky Moves Sideways to the heavier, Tool-esque soundscapes of In Absentia. Steven Wilson’s tenure with Opeth probably had something to do with it, but Deadwing was certainly the heaviest album released by PT to that date. Based on an un-filmed screenplay written by Steven Wilson and Mike Bennion, Deadwing offers a definite story arc across its nine tracks, with the astonishing ‘Arriving somewhere but not here’ forming a centre-piece of immense proportions. Featuring contributions form members of King Crimson (Adrian Belew who has also collaborated with NIN) and Opeth’s own Mikael Åkerfeldt, the material on display is inventive, complex and filled with the haunting melodies which Steven Wilson has spent over a decade making his stock in trade.
Opening with the title track, Deadwing is a lengthy track, just missing the ten minute mark. Setting out the groups somewhat heavier sound form the off, the listener is treated to a host of moods and tempos, off-set by Wilson’s powerful voice, a heavy central guitar riff and a deranged solo in the bridge section. ‘Shallow’ follows, which is a short, sharp shock to the system, with a memorably melodic chorus. ‘Lazarus’ (the single from the album) is a lush ballad, hauntingly led by piano and featuring one of Wilson’s best vocal performances. The track is beautifully sad and uplifting all at once and is undoubtedly one of PT’s best moments. ‘Halo’ reintroduces the guitars before the monstrous ‘Arriving somewhere but not here’ ebbs and flows for almost twelve minutes across the centre of the record. A quite remarkable piece of music it showcases Wilson’s grasp of dynamics and houses a sledge-hammer heavy guitar section and Gavin Harrison’s remarkable drumming talents.
‘Mellatron scratch’ is a lazy as the title suggests and comes as something of a relief after the mind-bending complexities of the previous song, before ‘Open car’ (the opening song on the tour DVD) comes crashing in on a heavy, disjointed riff before ‘The start of something beautiful’ and ‘Glass arm shattering’ close the set on an emotional high. Ultimately Deadwing led the way for Porcupine Tree to truly step into the public’s consciousness, without sacrificing their integrity or complex arrangements for a more commercial sound. The heavier guitars compliment Wilson’s more pop sensibilities perfectly, and opened up new vistas for PT and their audience. While not their finest piece of work, Deadwing is a strong and powerful album, with emotion and melody in abundance. A strong set from an always impressive outfit.
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