Tag Archives: Porcupine Tree

Video Clip of The Week: Perfect Beings, “Mysteries, Not Answers”

Happy New Year and welcome to the first Video Clip of The Week for 2018, which we are getting back to with great enthusiasm after taking an extended break over the Christmas holidays.  I hope everybody had a good one. This week’s Sunday Jam comes from LA progressive rockers Perfect Beings, who offer up a curious but engaging animated clip for their song, “Mysteries, Not Answers.”

Fitting snugly in the cerebral twilight time between consciousness and sleep, “Mysteries Not Answers” is a soothing, minor chord lullaby that recalls Porcupine Tree’s Steven Wilson at his best. Visually, the story of an anthropomorphic Fox who falls asleep in front of the TV and dreams himself into a state of  suburban fugue strikes the perfect balance of amusement and disquiet.

“Mysteries, Not Answers” can be found on Perfect Beings’ third full length release, Vier —  a double album which is split into 4 distinct compositions (so prog), due out via  Inside Out/Sony Music on January 19th, 2018. Enjoy!

Perfect Beings Band Photo 2017

Razor & Tie Re-Issues 3-Disc Sets of ELP’s Debut Album and Tarkus

ELP and Tarkus Covers

It is no secret that I am pretty sweet on the music of Emerson, Lake & Palmer. I can’t really bring anything new to the party that wasn’t already said in the post hyperlinked above, so maybe go read that for some background on my obsession and them come back and rejoin us.

Emerson, Lake & Palmer are just a magical band to me. Even though I don’t revisit their music as often as I do, say, The Beatles or Led Zeppelin, I can’t find any fault with it. I understand that smell memory has the fullest power of transportation to the past, but when I listen to ELP I feel like I’m 12 years old, discovering their music for the first time on their three disc live album that had a tri-gatefold sleeve and a title much too long to type. There is nothing on earth quite like losing yourself in Keith Emerson’s Thor-meets-the Renaissance keyboard noodling, and when I hear Greg Lake sing songs about how “The Waters Rhine Taste of Wine” (“Stones of Years”) it makes my head explode. I have all their albums and several greatest hits packages and I cannot dispense with any of it. Because I am a huge Prog Rock Nerd.

Imagine, then, how hard I geeked out when I opened a package last week from Razor & Tie Records that contained three-disc reissues of ELP’s self-titled debut album and a reissue of the group’s sophomore album Tarkus — the one with the armadillo/tank hybrid on the cover. Wow, it was like Christmas in September! I got so excited, I immediately laid them out on my rug and took pictures of them for this post!

For other completist collector record geeks out there, here is what you’re getting with each of these deluxe editions, so you can make a judgement call on whether or not you need to own them:

  • Disc one is the original album with original track listing
  • Disc two contains alternate stereo mixes and unreleased bonus tracks
  • Disc three is a DVD Audio disc that contains new for 2012 5:1 Mixes and new Stereo Mixes, also previously unreleased

ELP and Tarkus Discs

Each set includes a color booklet with the track listings, lots of photos of the guys when they were young and hot, and lengthy historical liner notes by veteran British Rock Journalist Chris Welch. Three time Grammy-nominated producer and engineer Steven Wilson (of Porcupine Tree) worked from the original Greg Lake produced multi-track tapes to remix both albums, so you already know that they sound amazing.

The 3-Disc Deluxe Sets of Emerson, Lake & Palmer and Tarkus will be available wherever fine music is sold or downloaded on September 25th, 2012, but you can get pre-order information and find out to get all sorts of rare ELP swag by visiting This Link.

Complete Track Listings! 


Emerson, Lake & Palmer Deluxe Edition Track List:
Disc One: Original Album
1. The Barbarian
2. Take A Pebble
3. Knife-Edge
4. The Three Fates
ii. Lachesis PIANO SOLO
iii. Atropos PIANO SOLO
5. Tank
6. Lucky Man

Disc Two: Bonus Tracks (2012) THE ALTERNATE ELP NEW 2012 STEREO MIXES (Previously Unreleased)
1. The Barbarian
2. Take A Pebble
3. Knife Edge (with Extended Outro)
4. Promenade
5. The Three Fates: Atropos
6. Rave Up
7. Drum Solo
8. Lucky Man
Bonus Tracks:
9. Take A Pebble (Alternate Version)
10. Knife Edge (Alternate Version)
11. Lucky Man (First Greg Lake Solo Version)
12. Lucky Man (Alternate Version)

Disc Three: DVD Audio
NEW 2012 – 5.1 MIX (Previously Unreleased)

1. The Barbarian
2. Take A Pebble
3. Knife-Edge
4. The Three Fates: Atropos
5. Rave Up
6. Lucky Man

NEW HIGH RES 2012 STEREO MIXES (Previously Unreleased)
7. The Barbarian
8. Take A Pebble
9. Knife Edge (with Extended Outro)
10. Promenade
11. The Three Fates: Atropos
12. Rave Up
13. Drum Solo
14. Lucky Man
15. Take A Pebble (Alternate Version)
16. Knife Edge (Alternate Version)
17. Lucky Man (First Greg Lake Solo Version)
18. Lucky Man (Alternate Version)

Tarkus Deluxe Edition Track List: Disc One: Original Album
1. Tarkus
i. Eruption
ii. Stones Of Years
iii. Iconoclast
iv. Mass
v. Manticore
vi. The Battlefield
vii. Aquatarkus
2. Jeremy Bender
3. Bitches Crystal
4. The Only Way (Hymn)
5. Infinite Space (Conclusion)
6. A Time And A Place
7. Are You Ready Eddy?

Disc Two: The Alternate Tarkus 2012 Stereo Mixes
1. Tarkus
2. Eruption
3. Stones Of Years
4. Iconoclast
5. Mass
6. Manticore
7. The Battlefield
8. Aquatarkus
9. Jeremy Bender
10. Bitches Crystal
11. The Only Way (Hymn)
12. Infinite Space (Conclusion)
13. A Time And A Place
14. Are You Ready Eddy?
15. Oh, My Father
16. Unknown Ballad
17. Mass (Alternate Take)

Disc Three: DVD Audio

New 2012 5.1 Mixes
1. Tarkus
2. Eruption
3. Stones Of Years
4. Iconoclast
5. Mass
6. Manticore
7. The Battlefield
8. Aquatarkus
9. Jeremy Bender
10. Bitches Crystal
11. The Only Way (Hymn)
12. Infinite Space (Conclusion)
13. A Time And A Place
14. Are You Ready Eddy?
15. Oh My Father

2012 Stereo Mixes
16. Tarkus
17. Eruption
18. Stones Of Years
19. Iconoclast
20. Mass
21. Manticore
22. The Battlefield
23. Aquatarkus
24. Jeremy Bender
25. Bitches Crystal
26. The Only Way (Hymn)
27. Infinite Space (Conclusion)
28. A Time And A Place
29. Are You Ready Eddy?
30. Oh My Father
31. Unknown Ballad
32. Mass

Gail in Print: Modern Drummer, January 2009 Issue

The highly innovative Gavin Harrison of hallucination-inducing Prog Rockers Porcupine Tree is on the cover story of the January 2009 issue of Modern Drummer magazine. Inside you’ll also find my brain-dazzling updates on Pat Wilson of Weezer and Sean Davidson of LA metal band, Black List Union.

An Interview with Gavin Harrison of Porcupine Tree

metal edge logo

Gavin Harrison joined British progressive rockers Porcupine Tree in 2002 on the cusp of recording the groundbreaking CD, In Absentia. Since then, the drummer has found time between touring and recording with Porcupine Tree to work on a variety of outside projects, including a globally acclaimed series of instructional books and DVDs covering his cerebral theories on beat displacement and rhythmic illusions. Gavin’s subtle, tasteful grooves, punctuations of flair and amazing independence have inspired an increase in both his popularity among the fans and his profile in the drumming community. If you weren’t able to catch Gavin’s playing on tour with Porcupine Tree in support of its latest release, Fear of a Blank Planet, be sure to check out the band’s excellent live DVD, Arriving Somewhere.

Metal Edge: Your latest instructional DVD, Rhythmic Horizons is amazing. How have your concepts of rhythmic displacement evolved as your series of books and DVDs has progressed?

Gavin Harrison: Rhythmic illusions are something I’ve done so many times that it seeps through emotionally and becomes sort of a sixth sense when I’m playing. Interestingly enough, I was just [at a clinic] in Frankfurt where I had to do three half-hour performances. I was worried about playing my piece called “Nineteen Days,” because it’s very complicated. I played “Futile” and “The Sound of Muzak,” which some of the people knew and could relate to. So I thought, with a completely random audience, I’ll try playing a quite tricky composition like “Nineteen Days,” which is, of course, in a nineteen-eight time signature. I thought it would really die on its ass, but the crowd was cheering halfway through! It’s quite a delicate piece; it’s not got a metal or a heavy rock edge, but surprisingly they really liked it and that was encouraging.

Metal Edge: Are there examples of how your displacement concepts can be integrated into a more traditional hard rock, approach?

Gavin Harrison: Not to a four-on-the-floor approach, but when you hear bands like Meshuggah, they’re doing fantastic rhythmic designs between the drums and the guitars. They do some really advanced rhythmic concepts and that’s what attracts me to their music the most. Perhaps some of the listeners don’t realize it and are enjoying it on a different level. But I know that’s one of the reasons that I really like them.

Metal Edge: It seems that a lot of the time in metal music, players are concentrating on speed. Are you aware of many Metal guys playing in odd times?

Gavin Harrison: Apart from Thomas Haake from Meshuggah, I really like this Swedish drummer, Morgan Agren. I’ve only heard him on a couple of things, one being a solo album by Meshuggah’s guitarist, Fredrik Thordendal. Morgan played drums on that and was absolutely phenomenal. It’s one of the best records I’ve ever heard, actually. I’m not really a speed drummer. I shy away from it, because I think you can say more in the spaces than you can say by filling every tiny hole with really fast notes. You’ve got nowhere to go if you just play 64th notes on the bass drum. There’s no real level above that: you’re at the maximum. If you start off the very first song of the set with that, it’d be pretty tough to follow. Everything after would be a bit of a disappointment (laughs).

Metal Edge: In a recent interview, you said, ‘The beauty of rhythmic illusions is that it’s a concept rather than a physical technique…it lends itself very well to death metal.’ Can you elaborate on that?

Gavin Harrison: ‘Yeah’ he says, not even knowing what death metal is (laughs). I think I was just trying to find an extreme; it can lend itself to any music. It’s just pure rhythm. If you’re playing Country, Dixieland jazz, Be-bop or even a Top 40 gig – anything – those concepts can apply to you. What I liked about my book (Rhythmic Illusions) is that it should be applied to the specific user. There’s no real point in trying to play exactly what I play in the book. The interesting part is when the concepts are applied to your style of music and your situation. Rhythm is just rhythm. The attitude is something else.

Metal Edge: You’ve also said that players don’t need a lot of chops to play your stuff, but they need a lot of gray matter.

Gavin Harrison: Yes. It doesn’t require any real physical technique; it’s just a mind over matter thing. You have to ask yourself to play something you’ve played a million times, but starting in a very strange place in the bar. That concerns your perception of rhythm. Suddenly, it becomes really hard, even though your limbs are doing exactly what they’ve done a million times. And that’s why (laughs) it makes your brain hurt! I realized years ago that to really make my personality come through in music, the ideas were going to have to come from my brain. I’ve got no inspiration in my fingers or my biceps. They can move the sticks at the speed I want them to move, but when I’m presented with a new song my muscles have got no ideas (laughs). It’s the ideas that always attracted me. Someone like Stuart Copeland springs to mind – what he plays isn’t technically difficult, but no one else thought of it. 95% of the things I play today I had enough technique to play twenty years ago, but I didn’t have the brain capacity. For me, it’s much more rewarding to work on mental concepts and to exercise the big muscle in my head.

Gavin’s Gear:
Drums: Sonor
Sizes: 17”x22” Bass Drum, 14”x16” and 12”x14” Floor Toms, 9”x12”, 8”x10” and 8”x8” Rack Toms, 5”x12 Snare, 6”x14” Cottonwood Snare, 5”x14” Black Steel Snare
Cymbals: Zildjian
Heads: Remo
Sticks: Vic Firth Rock Model

Official Website: http://www.porcupinetree.com/
Official Website: http://www.gavharrison.com/

Gavin Harrison Drummer

This article was originally written for Metal Edge Magazine as part of a monthly column by Gail Worley (under the pen name Jayne Rollins). With the magazines’ dissolution, the article has been added to the content base of The Worley Gig for our readers’ enjoyment.

Gail’s Top Ten CDs of 2005!

Top Ten

As a special New Year’s treat, here’s a preview of my Top Ten Favorite CDs of the year, to be elaborated on in my upcoming 2005 Year End Rewind! Enjoy!

Crash Kelly Penny Pills

1. Crash Kelly, Penny Pills (Liquor & Poker)

When I got the advance of this album last winter, I predicted that Penny Pills would be my favorite CD of the year 2006 and, no surprise here, I was right. Embracing a full-on 70s sensibility of Alice Cooper’s School’s Out and T Rex at its most glam, Penny Pills is the only drug you need.

Lake Trout
2. Lake Trout, Not Them, You (PALM)

Baltimore’s Lake Trout bring us acid rock for the aughts and are one of the best live bands around.

Kasabian ST
3. Kasabian, S/T (RCA)

Kasabian are such a great band I can’t even believe they’re signed to a major label, let alone RCA. Which reminds me of joke:

Q: How do you stop the spread of AIDS?
A: Let BMG distribute it.

Eric Anders More Regrets
4. Eric Anders, More Regrets (Baggage Room)

Eric Anders is an obscure, independent singer songwriter whose unaffected ability to turn a phrase and otherworldly knack for arranging transcendent, melancholy melodies would have made him superstar, you know, if records still sold based on talent.

Porcupine Tree Deadwing
5. Porcupine Tree, Deadwing (LAVA)

I still love the Prog rock and nobody bends the mind quite like the dark masters of the genre, Steven Wilson’s Porcupine Tree.

Turbonegro Party Animals

6. Turbonegro, Party Animals (Liquor & Poker)

What’s going on up there in Scandinavia that gives bands hailing from that part of the world such superior ass kicking power in the Rock & Roll arena? Norway’s Turbonegro might say it’s a higher tolerance for alcohol.

The Greenhornes East Grand Blues EP

7. The Greenhornes, East Grand Blues EP (V2)

The Greenhornes play fuzz-toned garage rock that’s impressively faithful to the sonic hallmarks of the classic British Invasion bands (Beatles, Stones, Yardbirds) and their counterparts in the original wave of American garage rock. East Grand Blues EP completely obviates the need for The Strokes to ever make another record.

Fear Factory Transgression
8. Fear Factory, Transgression (Liquid 8)

Managing to stay authentically dangerous without becoming a parody of itself, heavy metal juggernauts Fear Factory have in Burton Bell and Raymond Herrera the best lead vocalist and the best drummer, respectively, in the genre today.

Black Halos Alive Without Control

9. Black Halos, Alive Without Control (Liquor & Poker)

My hands down favorite band to see live and, individually, my very favorite group of band dudes to hang out with, Vancouver’s Black Halos sweat Rock & Roll from every pore. I just adore them.

Peppers Ghost Shake the Hand
10. Peppers Ghost, Shake The Hand that Shook The World (Hybrid)

Five words: Ziggy Stardust meets Sergeant Pepper.