2004 is drawing to a close and no new
Porcupine Tree record has surfaced (with the exception of reissues) since
In Absentia. However, Steven Wilson along with Israel's eccentric singer/songwriter Aviv Geffen have brought us a record that will no doubt tie us over until the next album, with an offering that is simultaneously filled with the thick mood driven structure of PT's earlier material, in more of a tripped out psychedelic
Pink Floyd mindset.
Being much mellower than some of the recent PT albums,
Blackfield incorporates the influence of both Wilson and Geffen, with each fronting this project with equal balance of outspoken lyrics and dark soundscapes.
The aptly titled
"Open Mind" begins the record moving from light acoustic tinkering to grinding sub symphonic interludes that immediately presents the atmosphere that will encompass the record. Following with the more Coldplay or
Anathema related material such as title track,
"Hello" and the ballad
"Lullaby," driven by the reverberated piano with occasional Mellotron and guitar interlude, its as if something within the music almost grabs you by the neck, but yet gently pulls you in with a tendency to get rough at any moment.
The most haunting moments are courtesy of
"Glow," with the Mellotron taking full prominence with it's weeping grainy sound dominating the melody;
"Scars," which is infused with trip-hop beats and world music connotations that would make Radiohead jealous; and
"Cloudy Now" where the diminished key, crunch laden chorus, and Leslie effect vocals take center stage for this cut all providing the often malevolent mood of the album. Winding the album out with the RPWL-ish
"The Hole in Me" and what could be the long lost cut from Opeth's
Damnation titled
"Pain," Blackfield creates a vibe that is literally indescribable.
Filled with lots of spaciousness within the production, sounding like the record was recorded in a cathedral, the album is not exactly heavy (there are no "Blackest Eyes" or "Sound of Muzaks" on the record, when referring to
Porcupine Tree, but there are tracks that sound more like "Lips of Ashes" and "Gravity Eyelids"). The point of enjoyment does not rely on being a record of explosive crunch and consistent improvised soloing, it's strictly another excellent piece of music created in the way that only Wilson and Geffen would.
Written by
Hashman Saturday, December 4, 2004
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