Porcupine

Remastered in 2015 by Steven Wilson. Porcupine Tree's debut is really one big in-joke, which actually makes for a better reason to record something that pretends to be profoundly deep through and through. As released, it doesn't make mention of the tracks' origins as the supposed product of a mysterious cult psych/prog rock band, but the packaging and artwork (even the fonts) would make the Dukes of Stratosphear proud. Steven Wilson's singing is noticeably higher at points than it would be in later years - chalk it up to his relative youth or a desire to sound appropriately wispy (or on the lovely "Nine Cats," like David Gilmour). On a sheer technical level, though, Wilson can't be beat. Recording and producing his material solo (outside of a couple of guest appearances) before the big '90s revolution in home recording quality, he easily reaches the depth and reach of bands who could spend many times more to reach the same sound…

Some older fans looked askance at Lightbulb Sun, feeling it was verging on overt commercialism (and admittedly, the near power ballad solo on "Where We Would Be" is a bit odd!). Then again, given Wilson's own explorations of avant-garde pop with No-Man, who's to say why a slightly more radio-friendly stance can't work? "Shesmovedon" may have been a single, but there's no question who wrote and performed it - the elegant cascade of backing vocals on the chorus shows that much. Certainly Wilson hasn't turned into Max Martin or anything - it's still very much Porcupine Tree, in its lyrical turns of phrase and general sense of exploration. One of the best tracks on the album is the brilliantly titled "Four Chords That Made a Million," a barbed cut on some unnamed "emperor in new clothes" beset by a "moron with a cheque book"…

Octane Twisted, the first album by Porcupine Tree in three years, is a double-live disc recorded at Chicago's Riviera in 2010 during The Incident tour. It also includes highlights from the band's concluding concert at London's Royal Albert Hall. Recording a concept album is fraught with danger as well as possibility; a touring one is an exponentially greater challenge – especially when the studio recording is a chart success. The Incident went Top 30 in both the United Kingdom and the United States. Disc one features The Incident in its entirety. The studio album was presented as a seamless 55-minute suite. It gets tossed out the window almost immediately here. Opener "Occam's Razor" gives way to "The Blind House" easily enough, without interruption, but as the latter track concludes, Steven Wilson breaks the spell by greeting the crowd…

In Absentia was Porcupine Tree’s seventh studio album, first released in 2002, the first in a run of three albums that for many represent the pinnacle of the band’s artistic achievements. Not many albums can claim to have created a new genre, but with its fusion of metal, progressive rock, ambient textures, and acoustic singer-songwriter styled material, it became a blueprint for a generation of bands to come. It also represented a commercial breakthrough for the band, eventually going on to sell three times more than the band’s previous releases. In Absentia features many of Porcupine Tree’s most beloved songs, including Trains, The Sound of Muzak and Blackest Eyes. While not a formal concept album, many of the songs have common themes related to serial killers, youthful innocence gone wrong, and observations of the modern world, setting a template for many of songwriter Steven Wilson’s future songs.