PORCUPINE TREE – Deadwing and In Absentia – finally remastered and reissued on vinyl

Limited edition coloured vinyl available for each

Two of the most popular Porcupine Tree releases, In Absentia and Deadwing, have been acquired by Kscope and will be given reissues on vinyl, with new CD editions to follow later in 2018.  For the first time since their original release, they have also been remastered by PT songwriter and frontman, Steven Wilson. The new mastering has considerably less compression and limiting for a more dynamic listening experience.

Deadwing was Porcupine Tree’s eighth studio album, first released in 2005 following their breakthrough with In Absentia, it was the second in a run of 3 albums that for many represent the pinnacle of the band’s artistic achievements. It also continued their new-found commercial success to become their top selling record at the time.  It has been unavailable on vinyl for many years.

Based on a screenplay written by Steven Wilson and director Mike Bennion, about half of the songs were started with a view to being part of the score to that film, but when the film failed to move into the production stage, Wilson instead made them the foundation for the next PT album, with additional material written in collaboration with the other band members. The album features the classic singles: “Shallow” and “Lazarus“, the latter of which Wilson still performs live with his current band.  Other popular songs from the album include “Open Car” and “Arriving Somewhere But Not Here“. 

In Absentia was the band’s seventh studio album, first released in 2002, and was the first in a run of 3 albums that for many represent the pinnacle of the band’s artistic achievements. It was something of a breakthrough for the band, selling three times more than previous releases. Following on from 2000’s Lightbulb Sun it had a distinctly heavier tone, partly due to the addition of legendary drummer Gavin Harrison, and was also their first for major label Lava / Atlantic RecordsIn Absentia features many of Porcupine Tree’s most loved 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 Wilson’s future songs.

These new vinyl editions will be released on double heavyweight audiophile 180g vinyl presented in gatefold packaging. Special limited editon coloured vinyl versions are available directly from the Kscope store at Burning Shed; Deadwing will be pressed on to clear vinyl and In Absentia will be pressed on to white vinyl, as well as regular black vinyl releases.


kscope893-artPORCUPINE TREE – THE DELERIUM YEARS 1991 – 1993 – 9LP BOX SET Remastered by Steven Wilson.

The strictly limited Porcupine Tree – The Delerium Years 1991 – 1993 traces the explosive start of Steven Wilson’s career and the band he created, Porcupine Tree.

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The band started out as little more than a joke. During his teenage years in the 1980s, Wilson experimented with primitive recording gear in his bedroom and dreamed up an imaginary band with an absurd name and an outlandish backstory. As a lark, the teenager began writing songs for his fake group. The punch line? Wilson’s joke band was seriously good. Delerium Records, a record label for underground music, released Porcupine Tree’s fresh take on psychedelic and progressive music to great success.

The box set includes the first two Porcupine Tree studio albums, On the Sunday of Life…, and Up the Downstair, as well as the Staircase Infinities mini album, the 2 EPs that make up Voyage 34: The Complete Trip, and the archival album Yellow Hedgerow Dreamscape. But these records aren’t just the story of how Wilson had the last laugh when his joke band became a reality. These formative releases also trace how Wilson honed his craft and found his voice as an artist.

The LPs (pressed on 180g heavyweight vinyl) have been remastered by Steven Wilson. Yellow Hedgerow Dreamscape and On the Sunday of Life… feature Steven’s remasters for the most recent CD editions, which used the original analogue tapes for the first time rather than the digital copies made in the early 90’s used for all previous editions.  The other albums have all been specifically remastered for this set with more naturalistic dynamics and EQ. Additionally Voyage 34 uses the full length version of “Phase IV” as featured on the original 12 inch single release.

The deluxe box includes a book featuring rare and unseen archival documents and photographs. US journalist Stephen Humphries conducted in-depth interviews with Steven Wilson about his childhood and early creative endeavours for the extensive biographical liner notes. The box, book and LP packaging has been created by long-term collaborators; photographer Lasse Hoile and designer Carl Glover.

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Full Tracklist

Side A:
1. Music For The Head [2:40] 2. Jupiter Island [6:08] 3. Third Eye Surfer [2:48] 4. On The Sunday Of Life [2:07] 5. The Nostalgia Factory [7:29]

Side B:
1. Space Transmission [2:59] 2. Message From A Self Destructing Turnip [0:27] 3. Radioactive Toy [10:00] 4. Nine Cats [3:54]

Side C:
1. Hymn [1:16] 2. Footprints [5:51] 3. Linton Samuel Dawson [3:04] 4. And The Swallows Dance Above The Sun [4:03] 5. Queen Quotes Crowley [3:50]

Side D:
1. No Luck With Rabbits [0:47] 2. Begonia Seduction Scene [2:18] 3. This Long Silence [4:58] 4. It Will Rain For A Million Years [10:53]

Side E:
1. Voyage 34 (Phase I) [12:57]

Side F:
1. Voyage 34 (Phase II) [17:30]

Side G:
1. Voyage 34 (Phase III – Astralasia Dreamstate) [19:29]

Side H:
1. Voyage 34 (Phase IV – A New Civilization) [19:47]

Side I:
1. What You Are Listening To… [0:57] 2. Synesthesia [5:13] 3. Monuments Burn Into Moments [0:26] 4. Always Never [7:13]

Side J:
1. Up The Downstair [10:13]

Side K:
1. Not Beautiful Anymore [3:26] 2. Siren [0:53] 3. Small Fish [2:49]

Side L:
1. Burning Sky [11:42] 2. Fadeaway [6:19]

Side M:
1. Cloud Zero [4:40] 2. The Joke’s On You [4:19] 3. Navigator [4:49] 4. Phantoms [3:17]

Side N:
1. Rainy Taxi [6:49] 2. Yellow Hedgerow Dreamscape [9:30]


Side O:
1. Mute [8:06] 2. Landscare [2:59] 3. Prayer [1:38] 4. Daughters In Excess [6:35] 5. Delightful Suicide [1:10]

Side P:
1. Split Image [1:52] 2. No Reason To Live, No Reason To Die [11:07] 3. Wastecoat [1:11] 4. Towel [3:35]

Side Q:
1. Execution Of The Will Of The Marquis De Sade [5:07] 2. Track 11 [3:00] 3. Radioactive Toy [5:59] 4. An Empty Box [3:19]

Side R:
1. Out [8:58] 2. Yellow Hedgerow Dreamscape [10:45] 3. Music For The Head [1:22]

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Porcupine Tree is fronted by Steven Wilson, who also is well-known for his work producing other artists, from Swedish progressive metal group Opeth, to Norwegian chanteuse Anja Garbarek. He also has several other projects, including No-Man, Bass Communion, and Blackfield.

Porcupine Tree was founded as a self-indulgent creative outlet for Wilson, and the first major release was ‘On the Sunday of Life…’ in 1992, an album of psychedelia and studio experiments which bears little relation to the band’s current sound. From here, Wilson expanded the sound, creating the progressive rock/ambient trance fusion on the 30-minute long single “Voyage 34.” One of the only constants in Porcupine Tree’s music is how it continues to evolve and confront the expectations of the band’s fans from album to album.


In late 1993, the solo project became a band, as Colin Edwin (bass), Chris Maitland (drums), and Richard Barbieri (keyboards) were recruited to enable Porcupine Tree to perform live. Richard had previously been a member of one of the most experimental 80’s bands, Japan. The first real band album recorded was ‘Signify’ in 1996, which was followed by ‘Stupid Dream’ (1999), a breakthrough album which saw the band move into a more song-orientated direction. ‘Lightbulb Sun’ continued along that song-oriented tack, but, never content to rest on their laurels, Porcupine Tree changed course again for their next release, shuffling their lineup for the first (and to date, only) time. Chris Maitland departed and was replaced by Gavin Harrison in 2002, as the band signed a new international recording deal with Lava/Atlantic Records.

Since then, three major label album releases — ‘In Absentia’ and ‘Deadwing, and the Grammy-nominated “Fear of a Blank Planet’ — have augmented the band’s renown. Heavier than previous releases, the albums have found favor with older fans and introduced Porcupine Tree to a whole new audience.

In 2006, Porcupine Tree moved to the highly successful independent rock label Roadrunner for Europe. Since releasing Fear of a Blank Planet in 2006, the band have also released a number of titles on its own Transmission label, including the EP Nil Recurring, and the acoustic album We Lost the Skyline.

‘The Incident’ is Porcupine Tree’s tenth studio album and like ‘Fear Of A Blank Planet’ – which was an elaborate conceptual piece fuelled by a 21st century cocktail of MTV, sex, prescription drugs, video games, the internet, terminal boredom and subsequent escape – it takes the listener on a thrilling audio journey. In turns haunting, desolate, hypnotic and euphoric, its centre-piece is the title track – a stunning 55-minute musical statement that breaks down into 14 separate and often diverse (though interlinked) vignettes.

The tale begins slowly with ‘Occam’s Razor,’ gaining momentum and intensity with ‘The Blind House,’ ‘Drawing The Line,’ and ‘The Incident’ itself, though the group’s masterful manipulation of sounds and textures is never overlooked. The mellowness of ‘The Yellow Windows Of The Evening Train,’ for instance, is accompanied by the gentle crackle of a needle on vinyl – for all his skill as a producer and remixer, Wilson is a staunch supporter of the ‘old’ ways of listening to music. Incorporating both of these styles, ‘Octane Twisted’ somehow batters and seduces simultaneously, while ‘I Drive The Hearse,’ further sweetened by an uplifting guitar climax, is an intoxicating slice of melancholy with which to book-end the record’s 14-piece song cycle.

The seeds of the idea that led to ‘The Incident’ came to Steven Wilson as he became caught up in a motorway traffic jam whilst driving past a road accident.

“There was a sign saying ‘POLICE – INCIDENT’ and everyone was slowing down to rubber neck what had happened,” he recalls. “Afterwards, it struck me that ‘incident’ is a very detached word for something so destructive and traumatic for the people involved. And then I had the sensation that the spirit of someone that had died in the car accident entered into my car and was sitting next to me.

“The irony of such a cold expression for such seismic events appealed to me, and I began to pick out other ‘incidents’ reported in the media and news,” continues Wilson. “I wrote about the evacuation of teenage girls from a religious cult in Texas, a family terrorizing its neighbours, a body found floating in a river by some people on a fishing trip, and more. Each song was written in the first person and tried to humanize the detached media reportage.”

Additionally, Wilson delved back into incidents in his own life that had profound affected him, including a lost childhood friendship, a séance, his first love, and the day that he decided to give up secure employment to follow his dream of making music. The album’s epic song, an 11-minute Pink Floyd-flavoured masterpiece called ‘Time Flies’, for instance, begins with the line: “I was born in 1967.”

“1967 was possibly the most significant year in the history of rock music; ‘Sergeant Pepper’ by the Beatles and the first albums by Jimi Hendrix, Pink Floyd, and The Doors were all released that year,” says Steven. “I found myself wondering whether those facts were significant… maybe it’s why I ended up becoming a musician?”

‘The Incident’ poses a lot of important questions and will give the listener plenty of food for thought. As ever, though, Wilson is loath to provide what he thinks the answers might be. “One of the beauties of music – one of the reasons it’s still the greatest art-form, even over cinema – is that it demands so much of the person that experiences it, as well as those that create it.”

‘The Incident’ is certainly not the kind of album that will be fully absorbed in a single sitting. Indeed, repeated listenings reveal all sorts of hidden detail. “It’s definitely not an album that should inspire a passive response,” proclaims Wilson.

Pushed for a more succinct description he calls ‘The Incident’: “A slightly surreal song cycle about beginnings and endings and the sense that ‘after this, things will never be the same again’.”

Coming to the recording sessions following his first ever solo album, November 2008’s ‘Insurgentes,’ Wilson admits that the experience of having worked alone affected the direction of ‘The Incident.’ “Possibly because of having done that, this record is darker, more expansive, and more experimental,” he theorizes. “But when I write for Porcupine Tree, I know the sound I’m after.”

While ‘Fear Of A Blank Planet’ featured contributions from three special guests – Alex Lifeson of Rush, King Crimson’s Robert Fripp and the band’s live guitarist John Wesley – and ‘Insurgentes’ was also executed with considerable outside help, ‘The Incident’ is slightly unusual for being completely self-contained. Like its predecessor, however, it was self-produced by all four group members.

‘The Incident’ is completed by four standalone compositions – ‘Flicker’, ‘Bonnie The Cat’, ‘Black Dahlia’ and ‘Remember Me Love’ – all housed on a separate CD to stress their independence from the record’s main 14-part suite.

As with ‘Fear Of A Blank Planet’, the Wilson-helmed 5.1 mix of which was nominated in the Best Surround Album Award at the 2007 Grammies (eventually losing out to The Beatles’ ‘Love’), Porcupine Tree will be performing ‘The Incident’ in its entirety during the first shows of its next world tour.

Porcupine Tree is Steven Wilson, Colin Edwin, Richard Barbieri, and Gavin Harrison.

Gavin Harrison - Cheating the Polygraph

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Legendary Porcupine Tree drummer Gavin Harrison reimagines the band’s tracks in brilliant and surprising ways.

Boasting performances from some of the World’s best contemporary Jazz players, Porcupine Tree classics such as ‘Heart Attack In A Layby’ and ‘Hatesong’ take on new life in striking arrangements by Laurence Cottle (ex Bill Bruford’s Earthworks, Alan Parsons Project etc) and co-produced with Gavin Harrison.

A labour of love, recorded over a period of five years, ‘Cheating The Polygraph’ features long-term Gavin Harrison collaborators such as Dave Stewart and Gary Sanctuary and provides an ideal means of appreciating the both the flexibility and timelessness of Porcupine Tree’s legacy, as well as the full scope of Gavin Harrison’s immense talent.

Cheating The Polygraph is an ambitious project which sees the restlessly creative Harrison re-imagine eight songs from the acclaimed Porcupine Tree repertoire, in a set of vivid and vibrant new arrangements that give full, free rein to his enquiring musical mind. Harrison explains the approach thus: “I think every album needs a focus – a master plan – and whilst I thought about writing new tunes for a big band project – I made a version of PT’s Futile (with Laurence Cottle) and it came out really well. It felt like a good plan to follow on with some of my personal favourite PT songs and see if we could make them work. I had a vision that the arrangements would never lean towards a clichéd classic big band sound but always follow a modern contemporary angle. So even if you didn’t know the original tune you could still enjoy it as a modern composition that would work with this instrumentation. I couldn’t be happier with the results. Laurence Cottle’s immense talent as a musician and arranger was mind blowing.”

The eight tracks which comprise the album were recorded over a five-year period, with Harrison working in conjunction with a crew of some of the finest contemporary musicians, including the gifted saxophonist Nigel Hitchcock and bass player Laurence Cottle. It’s a set that will no doubt excite much controversy; Harrison use of the ‘Big Band’ musical sound stage isn’t some ersatz attempt to make a ‘Swing’ album; it’s closer in execution and arrangement to the innovative works of Frank Zappa & The Mothers of Invention, a layered, richly-textured selection that is both beautifully-recorded and incisively delivered.

No respecter of arbitrary musical pigeonholing, Harrison doesn’t so much ignore genre confines as smash right through ‘em – Harrison states in his thoughtful liner notes: “It’s very important to me to push the boundaries of music whilst respecting what came before. In the arrangements of these pieces we really get ‘out there’ with some of the harmonies and rhythms, and we vastly extended the edges of the original compositions.” Harrison also drops little musical depth bombs throughout by interpolating shards of melody and musical themes from other Porcupine Tree songs seamlessly into the musical patina of Cheating The Polygraph, which serve to underscore his frontiersman spirit; this is some of the most enthralling, engaging and challenging music you’ll hear in 2015, but there is also wit and charm in abundance here, too.

What Happens Now?
Sound Of Muzak/So Called Friend
The Start Of Something Beautiful
Heart Attack In A Layby/The Creator Had A Mastertape/Surfer
The Pills I’m Taking (from Anesthetize)
Cheating The Polygraph/Mother & Child Divided