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PORCUPINE TREE – THE DELERIUM YEARS 1994 – 1997 – 8LP BOX SET Remastered by Steven Wilson.

Porcupine Tree – The Delerium Years 1994 – 1997 gathers together two pivotal (double LP) studio releases, along with the breakthrough Coma Divine triple live LP and a four track bonus 12″ EP.

All of the audio (pressed on 180g heavyweight vinyl) has been remastered by Steven Wilson over the last three years and comes packaged in a deluxe box with 40 page ‘perfect bound’ book containing extensive liner notes and a detailed band history by US journalist, Stephen Humphries.

The box, book and LP packaging is designed by long-term collaborator Carl Glover and features new and previously unseen material alongside the original artwork from the era.

Formed in the late 1980s as a side project (No-Man was Wilson’s main band at this point), Porcupine Tree had become a fully-fledged touring group by the mid-1990s. The band’s third studio release, 1995’s The Sky Moves Sideways, was a landmark album awash with melancholic vocals, hypnotic guitar solos, spacious textures and dynamic instrumental passages, and saw the band shift to a progressive rock sound that would come to define their career.

Signify (1996) built on the advances of The Sky Moves Sideways and firmly established Porcupine Tree as a highly respected force in the emerging mid-1990’s Underground scene.

Coma Divine, the live LP of a career-changing sold out show in Rome, appeared in late 1997. Consolidating Porcupine Tree’s position as one of the pre-eminent live Rock bands of its age, the album proved that the band were as vital a force in concert as they were in the studio.

These three releases are accompanied by an LP of bonus tracks, including two versions of Signify II pressed as a concentric cut – depending on which groove the stylus falls into, you get a different mix.

The Delerium Years is a beautifully presented set chronicling the evolution of one of the UK’s brightest talents of the 1990s and 2000s.


A.1 The Sky Moves Sideways – Phase 1

B.1 Stars Die
B.2 Dislocated Day
B.3 The Moon Touches Your Shoulder
B.4 Prepare Yourself

C.1 The Sky Moves Sideways – Phase 2

D.1 Moonloop
Porcupine Tree   [22:23]

E.1 Bornlivedie
E.2 Signify
E.3 Sleep Of No Dreaming
E.4 Pagan
E.5 Waiting (Phase One)

F.1 Waiting (Phase Two)
F.2 Sever
F.3 Idiot Prayer

G.1 Every Home Is Wired
G.2 Intermediate Jesus

H.1 Light Mass Prayers
H.2 Dark Matter

I.1 Bornlivedieintro – Live In Rome
I.2 Signify – Live In Rome
I.3 Waiting (Phase One) – Live In Rome
I.4 Waiting (Phase Two) – Live In Rome

J.1 The Sky Moves Sideways – Live In Rome
J.2 Dislocated Day – Live In Rome

K.1 Sleep Of No Dreaming – Live In Rome
K.2 Moonloop – Live In Rome

L.1 Up The Downstair – Live In Rome
L.2 The Moon Touches Your Shoulder – Live In Rome
L.3 Always Never – Live In Rome

M.1 Is … Not
M.2 Radioactive Toy – Live In Rome

N.1 Not Beautiful Anymore – Live In Rome

Bonus Tracks
O.1 Signify II (Secular Mix)
O.1 Signify II (Religious Mix)

Bonus Tracks
P.1 Sound Of No-one Listening (Stars Die Version – 2015 Remaster)
P.2 Colourflow In Mind (Stars Die Version – 2015 Remaster)
P.3 Fuse The Sky (2015 Remaster)

Normal (from Nil Recurring)

I Drive the Hearse (from Octane Twisted)

Octane Twisted (trailer)

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Hatesong / Halo (directed by Lasse Hoile)

Cheating the Polygraph (album montage)

More videos from Porcupine Tree    Videos archive


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.

Related Artists

Steven Wilson

© Naki Kouyioumtzis.Steven Wilson, on location, oxfordshire. Steven Wilson formed Porcupine Tree originally as a solo project in 1987.



Gavin Harrison

Gavin Harrison is best known for playing with the British progressive rock band Porcupine Tree which he joined in 2002.



Richard Barbieri

Richard Barbieri has been a core member of Porcupine Tree playing keyboards on all the band’s albums since 1993 as well as releasing two solo albums, Things Buried and Stranger Inside, and collaborating with Steve Hogarth.



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