Opeth and Porcupine Tree – The Progression Gen(i)us
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Their friendship has single-handedly defined the progressive metal scene. Now read what Opeth’s Mikael Akerfeldt and Porcupine Tree’s Steven Wilson have to say about the dynamics of their influential relationship and the turbulent recordings of Opeth’s Deliverance and Damnation albums.

The Opeth/Porcupine Tree relationship is as progressive as the music that each of them make. It is a friendship built on inspiration, admiration, and adoration. It is also a friendship that thrives on the love and respect they both have for their art form. Although conducted on separate occasions, the Mikael Akerfeldt (Opeth – guitar/vocals) and Steven Wilson (Porcupine Tree – guitar/vocals) interviews have been brought together here to better illustrate the dynamic relationship that exists between two of progressive metal’s best and most influential innovators.

To get it right, the story begins with the symphonic rock operas that existed in the sixties and seventies. For Akerfeldt, they were an avenue for which 12-minute opuses of extreme metal became a signature. For Wilson, they represented the album in its entire splendor, a complete story from beginning to end.

And so the foundation was laid. And each band charted its own course with the same destination in mind. While Opeth’s sound is remarkably different from Porcupine Tree’s sound, there is no mistaking the fact that both band’s concepts, philosophies, and approach to making music are quite similar. Opeth flourished in Sweden, their discography beginning in 1995 and spanning seven albums. Porcupine Tree flourished in the UK underground, their discography beginning in 1991 and spanning nine albums plus a whole host of singles and EPs. Yet it isn’t until Opeth’s 2001 release, Blackwater Park, that Wilson and Akerfeldt finally combine their musical genius. Wilson was brought in to produce Blackwater Park and the result was an album that showcased, more than anything else, the changing of the guard in progressive metal.

What was most significant about Wilson and Akerfeldt working together was the impact the collaboration would have on both of their collective and independent creativities. Blackwater Park was Wilson’s first stab at producing and working with Opeth was as rewarding for him as it was for them

“There are so many pluses about working with a band like Opeth,” says Wilson. “Firstly, it is a pleasure for me to work with somebody that is so talented. Mike is a very gifted writer, a very gifted musician. The other thing is that I have always been a big fan of metal, fairly extreme forms of metal, but I’ve never had the opportunity to work on that music before. So, it was great for me to be able to do that a) because I love the music and b) because it was a good opportunity for me to get something back from that experience.”

The relationship blossomed and Wilson was brought in to produce two more Opeth albums – 2002’s Deliverance and 2003’s Damnation. Recorded one right after the other, Deliverance and Damnation are a double shot of Opeth magnificence. Remaining true to form, Deliverance is the usual extreme metal fare Opeth is known for. Yet Damnation is anything but usual Opeth. Damnation is an entire album made up of mellow, acoustic songs, stripped down, clean, and simply beautiful.

“It should be fairly easy for Opeth fans to understand Damnation and what it’s about,” says Akerfeldt, “because the influences that I used to write the songs for Damnation are the same influences I use to write heavy songs too, except that these songs are closer to those influences. I am hoping that maybe our fans have done a little research and checked out what we’re listening to, what bands we’re into, and if they have it will be easier for them to understand Damnation, but if you’re only a fan of extreme death metal then maybe Damnation isn’t for you.”

Of the three albums Wilson produced, Damnation has the most definite Porcupine Tree stamp on it. Akerfeldt even alludes to the fact when speaking about his influences, of which Porcupine Tree is the most significant.

“Porcupine Tree, in a way, are responsible for me being able to write music at all,” admits Akerfeldt. “I listen to their albums all the time, and obviously Steven is a good friend of mine too, but I always see beyond that and always see what he’s done musically. Porcupine Tree, ever since the first day I heard them, have been a massive influence so it’s obvious that some parts, not only on Damnation but most of our albums, are pretty similar to Porcupine Tree.”

And while the Porcupine Tree sound can be heard on Opeth’s work, so too can the Opeth sound be heard on Porcupine Tree’s work, especially their latest album, 2002’s In Absentia. In Absentia is by far the heaviest Porcupine Tree album to date, no doubt a direct result of Wilson having worked extremely close with Opeth on Blackwater Park just one year earlier. In Absentia might just be the exact definition of progression, the entire album a musical journey of extreme metal, vocal harmonies, acoustic brilliance, trip-hop beats, and graceful piano, something Porcupine Tree have made a habit of experimenting with over their entire career.

With Opeth and Porcupine Tree, experimentation is the basis for growth and, ultimately, artistic satisfaction. It’s what makes the Akerfeldt/Wilson relationship so unique and so successful.

“I was kind of bringing what I do to their music, perhaps taking them into realms, or taking the whole genre into realms, that it hadn’t been before,” says Wilson about working with Opeth. “And because Mike and the band were already big fans of what I do it was very easy for me to work with them. So, I kind of had the additional comfort as to be able to suggest things and try ideas out knowing that they would get it because they already had heard it, if you like, on some of my own records, albeit in a different context.”

The comfort and camaraderie of Wilson and Akerfeldt can be heard in the final products that are Deliverance and Damnation. But despite the obvious musical achievements both albums exude, the recording process was one Akerfeldt won’t soon forget.

“It was pretty much hell,” he admits. “It’s pretty heavy to record an album but this time around we had so many technical troubles and things breaking down in the studio and we didn’t have anyone to help us out. Before Steven came, you know, it was only us, and when the tape recorder goes down we don’t know how to fix it and the guy that owned the studio didn’t know either so we pretty much had severe technical problems everyday. On top of that we slept in the studio on the floor so the life we were leading at the time was equal to a junkie’s life almost. For the first couple weeks we didn’t get the recording funds and we didn’t have any money to buy food either. It was all bad.”

Wilson was absent for most of the Deliverance recording and when he finally did show up, no one was happier or more relived than Akerfeldt.

“A lot of that trauma kind of happened when I wasn’t there,” recalls Wilson. “The reason it happened when I wasn’t there is because I think Mike felt he had to take responsibility for every single second that they spent in the studio. As soon as I showed up it kind of gave him a little bit more freedom. He was obviously relaxed a bit more because I was taking care of the production and the engineering, so he was able to go off and relax and work on lyrics.”

Not only can Wilson’s impact on the Deliverance and Damnation recording sessions be heard in the music, but it can also be felt in the fact the albums even saw the light of day at all.

“When I listen to Deliverance I get all these bad memories about the recording,” says Akerfeldt. “Literally everyday it felt like were not going to be able to record this album, it’s over, let’s go home, you know. It was pretty bad.”

Wilson’s sympathies run deep.

“I did feel for Mike in the sense that he had taken on the recording of two albums back-to-back and I know how traumatic it is just making one record. I mean, I’ve been in that situation – producer/writer/musician – the pressure is phenomenal. So, I can’t imagine what it must have been like for him trying to make two back-to-back and I don’t think he ever wants to do that again.”

Opeth may not do a double recording again anytime soon but what they will do is continue to dominate the progressive metal scene, the crown befitting a king.

“Obviously we’re a metal band but we’re also developing the sound of metal, taking it a step further, and I think that’s progressive,” says Akerfeldt. “Many people have been complaining that we don’t make so many changes either, which is fairly true, but when you look at it, we’re a death metal band and now we’ve done the Damnation record and I think that is about progressing and ever since the first album we have always incorporated stuff that doesn’t have anything to do with extreme metal but is a mish mash of everything and I think that is what progress is all about. We try to do something new, try and do something different, and develop all the time.”

To say that Opeth’s progressive stance is but a direct result of Porcupine Tree is not a stretch at all. And to say that Porcupine Tree owe as much to Opeth for their success is equally true. The relationship that exists between Akerfeldt and Wilson is truly one of a kind. To be able to stand back and see the impact the two musical geniuses have had on one another, to be able to see the unparalleled progress made by each band over the years, is something special indeed. And for the first time in their careers, Opeth and Porcupine Tree will hit the road together this summer, in support of Damnation and In Absentia, respectively.

After that it seems there is only one thing these friends have left to do.

“Tell him to play at my wedding,” says Akerfeldt.

“He asks everyone he meets to ask me to play at his wedding,” replies Wilson. “I told him I will.”

Further:
Opeth
Porcupine Tree

-the quite progressive Jeff Warren