Porcupine Tree
Stupid Dream

An album at the service of emotions. It is with these words that I feel compelled to describe what should be considered the stylistic turning point album of the British band. They were already capable of moving us with the space-psychedelic sound of the first 4 albums, but this new sound seems purpose-built for that aim. The change in approach is evident: there is much emphasis on the acoustic guitar (well alternated with the electric one) and the piano (always very delicate), the light keyboard backgrounds, almost imperceptible with a vaguely orchestral flavor, and the sounds decidedly darker. Another element is a generally shorter duration of the songs, which allows listeners less inclined to long durations to better digest the album... and why not, also allows the group to try to place some singles in the charts; but there are longer tracks as well.

But the duration of the songs practically never affects their quality, which remains unchanged whatever the length. The tracks that are more noticeably catchy and radio-friendly are "Piano Lessons", the band's first track to be supported by a videoclip, which is fully influenced by brit-pop, "Stranger By A Minute", delicate in its guitar and organ touches, and "This Is No Rehearsal" where acoustic riffs alternate with unusual punk accelerations.

Although the focus is more on shorter songs, truly remarkable are the two longer tracks "Even Less" and "Don't Hate Me": the first alternates delicate verses with acoustic guitar and piano, then gives way to electric guitars in the chorus and also to delicate keyboards at certain moments; the second, however, has perhaps a more Pink Floyd-esque style: delicate arpeggios of acoustic guitar and gentle organ parts and beautiful atmospheres in the chorus, plus a beautiful sax part.

Apart from these, I find the splendid "A Smart Kid" particularly touching where everything is intertwined splendidly: the touches of acoustic guitar, the keyboard background with a very orchestral flavor and a piano that perfectly meshes with Wilson's voice, plus some darker sounds. "Pure Narcotic" puts me in a very good mood, a direct and effective yet delicate acoustic guitar-piano track. I find "Baby Dream In Cellophane" particularly reflective, which in just three minutes, focused predominantly on the acoustic guitar, manages to really touch the heart.

Also very moving is the concluding "Stop Swimming" led by a warm and engaging piano. It's worth mentioning the instrumental "Tinto Brass" (whose name you well know whom it refers to), well led by Colin Edwin's bass and characterized by decidedly harder guitar riffs, and also "Slave Called Shiver", very dark in its sounds and also featuring excellent bass parts, among the best in the entire album. The track that gives the album its title is a simple 28-second keyboard interlude systematically placed between "Piano Lessons" and "Pure Narcotic".

Really beautiful this "Stupid Dream", but I warn you, if you want to enjoy it to the fullest, you absolutely must set your mind free from what you're doing at the moment and think about where you'd like to be and when; who knows, maybe in green and romantic landscapes with a shining sun on a spring morning (a very personal example). If, on the other hand, music for you is not strong emotions but a pure moment of relaxation, a desire to let loose or spend the day... just leave it, maybe have a listen, but then you'll see, you'll leave it there; this is not music for the faint of heart. And then, last thing: if real emotions for you lie in the discography of Gigi D'Alessio... then we don't align!!!