Porcupine Tree: Behind The Incident: A Discussion Of Concepts And Values With Steven Wilson JJ Koczan September 24, 2009 Interviews 9 It’s clear from even the most cursory reading of his lyrics and themes that Porcupine Tree frontman and principal songwriter Steven Wilson is deeply passionate about media. Only fitting since as a musician he’s on the front lines of a popular culture which over the last 10-15 years has shifted toward blind celebrity worship and a lack of focus on the creative process. As a spearhead act of the modern heavy progressive movement, Porcupine Tree flies in the face of the culture, such as it is, at large. Signed at long last to Roadrunner Records (which is really where they belong), Porcupine Tree have released The Incident, their latest in a long string of albums at least partially based on the notion of identifying and indicting the vacuous and contrasting it in every way possible. Wrapped around the mundane everyday desensitization, The Incident was formed around one large composition split into separate tracks, even in presentation going against the 99-cent-single ethos. Of the lengthy conversation we shared about the record, writing it, recording it (Wilson produces all his own material) and ultimately touring on it, the part where the guitarist/vocalist really opened up was in the discussion of media and how it relates to Porcupine Tree’s music and ideology. As such, that’s what I’m printing. We now join the interview already in progress… …How did the concept for the album come about? The concept really came about one night when I was driving home. I saw a sign on the highway saying, ‘Police Incident,’ and I suddenly—for whatever reason, I still don’t know exactly why—I started to dwell on the word ‘incident.’ It doesn’t actually tell you anything except that something has happened. I started to dwell on ‘what exactly is that incident?’ A squirrel walked onto the motorway? A traffic cone fallen over? Something trivial like that? As I was driving through, I realized quite the opposite, it was a very, very serious car accident. Presumably fatal. So I had a very sort of poetic moment and subsequent to that, I started to notice on the news, particularly on the BBC News on the TV, the use of this word ‘incident’ was almost ubiquitous. It was always being used and very often in a context that almost seemed designed to disconnect you from the horrific reality of what they were talking about. ‘Incident’ itself is a very dispassionate word. Quite detached. Very often they would be talking about horrific things, like child abduction, homicide or an earthquake. Talking about really horrible things that have terrible emotional consequences for the people involved and still they relate them to us as incidents in the media. I found out why that was. We can’t all be empathizing with every awful thing that happens in the world, otherwise we’ll all be walking around emotional wrecks. But at the same time, there’s something quite twisted about that, and what really brought it home to me was the whole Michael Jackson thing, which actually happened after the album was finished, but kind of threw it into relief to me, because it shows that when the media choose to, they can do the exact opposite. They can make you feel like something awful has happened. They can make you feel like you should all engage in some incredible communal feeling of mourning and sadness, and I call it the ‘Princess Diana Effect,’ because Princess Diana for me was someone I had no interest in as a person, no interest in anything she had to say, anything she was doing, and yet when she died, I was somehow expected by the media to feel incredible sadness and like I’d lost someone close to me. The same thing happened with Michael Jackson. The point I’m making is these are not related to us as incidents, quite the contrary, and there is something quite twisted about the way the media choose to create emotional hysteria about certain things which actually ultimately are far less significant. I mean, Michael Jackson dying is sad. I’m not trying to be callous and say it’s not. Of course I was sad about it. When you consider that in 2001 20,000 people died in an earthquake in India, relatively speaking, that puts it into perspective. A pop star died. A pop star that hadn’t made a good record for 20 years died. Twenty thousand people dying in a few minutes in India, and that is related as an incident, and that is what is twisted about the whole thing. I guess there’s something deep in the whole psyche of humanity. We have to block out these things in a way, but it’s funny how we sometimes choose to have this wonderful communal mourning for certain celebrities when they pass away. Anyway, I could talk about this all day, but that was kind of where the incident concept originally came from, but as I say, it was kind of a loose concept because I was picking up on various media stories that struck me and had almost been glossed over in the news. There was one about the religious cult in Texas last year that was evacuated from a compound. There was one about a body being found in a river. There was one about a child abduction. I picked up on these things and wrote in a first personal way to try and put that emotional resonance back into the stories that I felt I hadn’t had the opportunity to feel when I’d seen the original news items. That ultimately led me on to writing about my own life and being more autobiographical and writing about certain incidents in my own life, both good and bad, that had effected me as a person and changed the path of my life, sometimes for better and sometimes for worse. It’s quite loose, but there is a theme running through everything, I think, which is this sense of seismic events, life-changing or life-altering or sometimes life-ending events. That kind of media critique is something you’ve been doing for a while now. On Fear Of A Blank Planet, there was a more general look at culture through the Bret Easton Ellis book. Are you conscious of the ways you present your perspective in the lyrics? I guess if I’m conscious of anything, I’m conscious of the fact that I’m very much following in the tradition of musicians—not just musicians, anyone creative —that are very much aware of their own sense of alienation from the technological age that they live in. It’s very hard not to feel alienated from a world in which reality TV is so omnipresent and seemingly so influential. It’s very hard not to feel alienated from a country where most kids these days seem to be more inspired and more passionate about computer games than they are by music. It’s very alien to me because I grew up—not so long ago—in the ‘80s. In the ‘80s, music was still the number one way that you, as a kid, as a teenager, you would use to define your personality as distinct from your parents’ personality. You’d always pick music that your parents would hate (laughs). Rebellion is a very important part of growing up, no question, and that was the way you did it, with music. Nowadays, the music the kids listen to is to is more conservative than the music their parents listened to. Their parents were listening to The Smiths or Slayer or Pink Floyd. Now the kids are listening to Green Day and Metallica, which is much more conservative musically than what their parents were listening to, and I think this is the first generation you could say that of. Every subsequent generation really has shocked in some way the previous generation with their musical taste and there’s no way for kids to do that now, so in a way, I guess the way they rebel against their parents now is with technology, with computer games, with cell phones, with iPods and all this technology, which is kind of alien certainly to my generation. I don’t necessarily think it’s a good thing, so it’s that sense of alienation. I guess it’s the same sense of alienation that Thom Yorke felt 10 years ago when he wrote OK Computer or Roger Waters felt in 1979 when he wrote The Wall. There is this sense of artists particularly more from the hard rock tradition of feeling and trying to express this sense of detachment and alienation from the world they live in. I guess that’s what I do, and because of the generation I’m from, I find myself in a world that is all about reality TV, iPods, cell phones, computer games, the death of certainly the commercial end of the music industry, American Idol and all this stuff, which is hard not to feel about cynical about. It’s all pretty much lowest common denominator stuff, which is unfortunate, I think… The Incident is available now on Roadrunner Records. Porcupine Tree will be appearing live at Terminal 5 in NYC on Sept. 24 and at the Electric Factory in Philadelphia on Sept. 26. For more info, check out porcupinetree.com. 9 Responses Germania September 24, 2009 I’m from the same generation as SW and a fan of PT, but I disagree that the digital age is alien. Sure, I don’t want to hear the Zen bass played at a concert, but an MP3 player is a great way to add and discover new and old music (including PT). The comment about what we as parents listened to is somewhat true, but remember that we’re also the “disco”, “Donny and Marie” and “The Muppets” generation. Quite innocent compared to much of what is released today. Sure, many paltry bands are out there, but there is so much more potential that can be tapped as well. As for the media and the public at large, we as a society do tend to detach ourselves from major disasters in favor of single horrible events that are easier for our minds to comprehend. Look at the war coverage or 9/11. The media can focus in on a few people affected to give you a sense of the dispair of those individuals, but we cannot ever fully grasp the situation unless we are directly affected by it. Reply Bogdan Ciric September 24, 2009 I think that if a kid really digs deep, they can find an immense amount of bands that are way more extreme than The Smiths, for instance. However, the point Steven is trying to make is that people, in general, are becoming complacent and lazy and accepting everything that is told to them (through the media, for example) as the plain and obvious truth. Which is quite a bad state to be in. Which ties in with his point on Fear of a Blank Planet – the modern person is not curious enough about the world as everything is easily accessed. Thus, humans are now more lazy and technology has become a substitute for effort… Reply Brian September 25, 2009 The one point I would make, and the one I think SW always misses, is that PT is a MP3 phenomenon. Were it not for the incredible freedom of distribution, wrongly or rightly, bands like PT would stay under the radar forevermore. As it stands, word-of-mouth has made PT a success, and one that SW has every right to. He is a prolific and, in my opinion, great artist. But, he must realize that technology has played a significant role in helping him achieve his success. Hell, he is the master of the 5.1 mix, what is that, if not modern technology? Reply AJ Saxon September 25, 2009 I only discovered PT a little over two years ago and instantly fell in love. I understand exactly what SW is saying about the current generation in comparison to ours (I’m only a couple years younger than Steven). I have, however noticed that most of our generation has really let go of their own passion for anything truly creative (a friend of mine from high school, seems almost offended when I talk about bands he’s never heard of but then he won’t seek them out either and he’s a musician). Music has always had a great affect on me, both emotionally a physically… I don’t understand the facination with reality TV or video games. I still buy CDs. Seeing PT live was an amazing experience and reminded me just how powerful music can be. Reply Stuart Condie September 25, 2009 I don’t think that Steven Wilson is anti-technology – he admitted in a recent interview to using add-ins for all his recorded guitar sounds and having been brought up in the era of hard disc recording – but rather a sadness or despair that with all the wealth of music and culture now accessible to everyone, we seem ready to settle for mass-market, demographically sanitised pap. The sin of reality TV is not that it replaces professionals with the common man, which could be a democratising force if properly handled, but that it tells us what our emotions are meant to be and manipulates what we are supposed to feel. To achieve that, all the shades of grey are taken away and simple is the order of the day. Look at the charts and tell me that music isn’t suffering from the same dumbing down. Reply Adam September 25, 2009 Every time I read an interview with SW, I seem to like him more. I agree with most of what he says. Keep up the great music, Steve! Reply Patrick De-La-Mare September 28, 2009 The More interviews I read of S/W the more I like him he is a very intelligent person as well as being a very talented musician and producer the Latest P/T album is a brilliant effort and I am very much looking forward to seeing it performed live in London.. I totally agree with his view of the modern media and the fact that people are becoming lazy were music is concerned most kids these days can’t be bothered to research music and rely on radio which in most cases is very limited and they only play what the record companies want you to here. Like the media it is censored. With regards to modern technology. I am 45 years old and I am a total gadget head. I own a iPod which to me is the greatest invention since the CD. If you had told me when I was 17 that one day |I would be able to have my entire music collection in my back pocket I would have asked you what drugs you were taking. Mobile phones are very useful as well but it took a while for them to get sold to me. As for the internet I think used in the right way it is amazing and the best thing that has happened to the music industry even thought a lot of people would disagree. Bands like P/T would have found it very hard with out the internet. It is a brilliant communication tool and as a means of spreading the word it cannot be beaten. In Think there are a lot of bands out there that blow the socks of anything I was listening to when I was a Teenager P/T for one Opeth, Dream Theatre, Within Temptation, Masterdon, I could go on. There a lot of kids out there that don’t know about these bands that I am sure would find them really cool but if they can’t be bothered to find out. What can you do? Nearly all the music I have got into in the last ten years has been through word of mouth and the internet.. My music collection at the moment runs at over 1000 cds and twice as many mp3 files. I love it Reply Kerri September 28, 2009 I have to agree with Adam. I can understand Steven’s frustration with the iPod shuffle mentality, but were it not for the Internet, I wouldn’t have heard of PT. That’s how I found out about PT and countless other bands I have gotten into in the last decade. I have spent more on albums in the last decade than I ever did previously. Reply Tim Coffey October 1, 2009 All I can say is that I discovered PT the old fashioned way when they opened for Yes at the Tower Theater back in 2002 or 2003. Abstentia was the new album. I never thought that I would grow to love an opening act, but I got hooked. Funny die hard 45 year old prog rock fan of 70’s music(Yes,Genesis, Kansas) found a band to get into and look forward to some new music. When I saw them for the FOBP tour at a casino in Atlantic City, I took a friend, but still thought that an act at a casino was not relevant. HOwever, when I saw PT for the Incident inPhiladelphia and saw the fans reaction, I relized that the next time I see them it will be at a much bigger venue. Too bad we do not have the fan base in the states, like Europe does. Anyway, I am looking forward to more new material from SW and PT. Maybe I will look into pre-Abstentia material. Reply Leave a Reply to AJ Saxon Cancel Reply Your email address will not be published.CommentName* Email* Website Save my name, email, and website in this browser for the next time I comment.