On March 24, 2005 "Porcupine Tree" released their eight studio album "Deadwing".
"Deadwing" stands as one of the "Porcupine Tree's" most compelling works, blending progressive rock with atmospheric and heavy elements in a way that showcases Steven Wilson’s evolving vision.
In the years after releasing "In Absentia" steven wilson was occupied with his side project with Aviv Geffen - releasing theis self-titled album "Blackfield" in 2004. It looks like in "Deadwing" Wilson wrote some of his finest work combining between the softness of "Blackfield" with the heavier, progressive metal direction the band embraced with "In Absentia", expanding on its darker themes while incorporating even more ambitious songwriting. No wonder it quickly became the band's best selling album at the time.
Having joined the band for "In Absentia", Drummer Gavin Harrison’s contributions to "Deadwing" solidify him as one of the most technically gifted and expressive drummers in modern progressive rock. His intricate rhythms and seamless transitions enhance the album’s dynamic nature, as can be heard on tracks like "Open Car" and "Glass Arm Shattering". Not only that, but Harrison became a new driving force in the writing process as songs like "Halo" and "The Start of Something Beautiful" originated from ideas he had experimenting with.
The album was initially conceived as a soundtrack to an unproduced film script co-written by Wilson and Mike Bennion. Though the film never materialized, the narrative structure remains evident, giving "Deadwing" a cinematic quality that adds to its depth and immersive nature.
"Deadwing" features guest appearances from "King Crimson’s" Adrian Belew, who lends his guitar work to "Deadwing" and "Halo", and "Opeth’s" Mikael Åkerfeldt, who provides vocal harmonies on "Deadwing", "Lazarus", and "Arriving Somewhere But Not Here", and also plays the second guitar solo on "Arriving Somewhere But Not Here".
The album opens up with the title track "Deadwing" - a ten-minute piece that has no real chorus. The song hypnotic blend of swirling keyboards, layered guitars, and pulsating rhythms pulls the listener into a sonic journey that oscillates between melancholy and aggression.
"Shallow" comes right after with it's heavy guitar riff which Wilson described as: "The big rock moment of the record, an irresistible riff with a "Zep" or "Soundgarden" vibe to it".
One of the album’s standout tracks, "Lazarus", showcases Wilson’s delicate songwriting and ability to craft hauntingly beautiful melodies. This song highlights the band’s versatility, with warm piano lines and heartfelt lyrics making it one of the most emotionally resonant moments on the record. keyboardist Richard Barbieri's said that it's "The beautiful side of "Porcupine Tree". Very mellow and delicate, in the contemporary style of "Coldplay" or "Radiohead".
"Halo" has an internal contrast between the infectious bass/drum groove and it's industrial feel with the distorted vocals. Steven clarified that the song is based on this film script he wroteand that it is about the born again Christianity.
Undoubtly the album best track is "Arriving Somewhere But Not Here" serves as "Deadwing’s" magnum opus, clocking in at over 12 minutes. This track masterfully balances "Porcupine Tree’s" progressive tendencies with heavy metallic guitar riffs, melodic soft interlude and cinematic storytelling. It features soaring guitar solos, dynamic shifts, and atmospheric build-ups that rank among the band’s finest work.
In retrospect, "Deadwing" is often considered a pivotal release in "Porcupine Tree’s" catalog. It successfully bridges the gap between their progressive roots and a heavier sound, to their softer and more accessible sound, appealing to both longtime fans and newcomers alike. While "In Absentia" might have introduced a wider audience to the band’s modern era, "Deadwing" refines and expands upon that foundation, making it one of the most definitive progressive rock albums of the 2000s.
For Listening: Spotify, Apple Music
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