Porcupine

Album Review

The group's third album is a solid outing, a noticeably better listen than its predecessor, Heaven Up Here. Songs are intriguing and elaborate, often featuring swooping, howling melodic lines. Arrangements here owe a lot to 1960s psychedelia and feature lots of reverb, washed textures, intricate production touches, and altered guitar sounds. Ian McCulloch's vocals are yearning, soaring, and hyper-expressive here, almost to the point of being histrionic, most notably on "Clay," "Ripeness," and the title track. Driving bass and drums lend the songs urgency and keep the music from collapsing into self-indulgence. Parallels between the group's U.S. contemporaries such as Translator, Wire Train, and R.E.M. can be drawn, though all seem to have developed aspects of this style at about the same time — and none utilize it as flamboyantly as the Bunnymen do. Highlights here include "Back of Love" (with its galloping drumbeat and fragmented yet ardent vocal line) and "Gods Will Be Gods" (which gradually speeds up from beginning to end, working itself into a swirling frenzy). This album is well worth hearing. [The 2004 reissue of Porcupine features new liner notes, photos, improved sound, and a wealth of bonus tracks. Best of the lot is the single that followed the record, "Never Stop," the band's most exciting and successful fusion of dancefloor energy and pop hooks. "Fuel," the B-side of the "The Back of Love" single that was recorded in Will Sergeant's bedroom, is included too. The most interesting additions for collectors will be the four alternate versions of songs from the album. There are plenty of subtle differences and a slightly more energetic approach. "The Cutter" is especially fun to hear in its early stages. A very well done expansion of an already fine album.] ~ David Cleary & Tim Sendra, Rovi