On October 14, 2010, Porcupine Tree played a show at Royal Albert Hall and walked away for over a decade. In interviews over the years, mainman Steven Wilson repeatedly said a reunion wouldn’t happen and focused on his successful solo career. Drummer Gavin Harrison played with The Pineapple Thief and King Crimson, Richard Barbieri released a couple of solo records, and bassist Colin Edwin played in various other bands (most regularly O.R.k.). Fans resigned themselves to the reality that PT was done.

And then, in late 2021, cryptic announcements appeared and eventually we learned that a new record was imminent. Now that CLOSURE/CONTINUATION is here, it’s time to see whether it was worth the wait or if they should’ve left well enough alone.

1. Harridan

The funky bassline played by Wilson (Edwin didn’t participate in the record) to start gave me pause, but once the chorus kicks in, it feels more at home. Wilson described this record as being “less metal” than the last couple, but you’d never know it by the middle section, which shows off some of the meatiest guitar the band’s ever used. I love Barbieri’s atmospheric keys throughout: dark, moody, and ever-present, but not overbearing. Finally, Harrison’s drum work is predictably outstanding. Pretty much a quintessential PT track. 10/10

2. Of the New Day

Next up is a quieter, more introspective track that, at the start, seems like a bit of a jarring juxtaposition on the heels of ‘Harridan’. At the 2-minute mark, the electric guitar kicks in with a chord structure that sounds like it would’ve been at home on Stupid Dream. Wilson is usually quite thoughtful about things like track sequence, but I wonder if this wouldn’t have been better served later in the album. Beautiful song, nevertheless. 8.5/10

3. Rats Return

My first impression of this track was: “Steven’s doing an Opeth!” This piece has proven to be somewhat divisive amongst fans, and I can see why: disjointed keyboards, Wilson’s high falsetto, and a relatively simple drum line. It’s a bit repetitive, really, and falls a little short in comparison to the first two tracks. 6/10

4. Dignity

This song about the untold stories of those who are homeless is the jewel of the record for me. It’s a softer track, but it is simply stunning: the vocal harmonies are wonderful, the keyboards are quite somber and atmospheric, and Harrison doesn’t overplay and allows the beauty of the song to shine through. I’d rate this one as amongst the band’s very best, and that’s high praise indeed. 10/10

5. Herd Culling

The riff in this track again belies Wilson’s claim of this being their least metal record: it’s certainly as heavy as much of The Incident. The harmonies in the mid-section are great, though your mileage may vary depending on your tolerance for falsetto. In the whole, it’s a pretty solid song… until the false ending kicks in. At that point, the motif feels repetitive and the solo sounds a bit tacked-on. A bit of trimming might have done wonders. 7/10

6. Walk the Plank

I wasn’t quite sure what to make of this track on first listen, but it’s one that has really grown on me. It’s replete with lots of keyboards, syncopated rhythms, and discordant guitars, which makes it pretty far afield of their catalogue, but it surprisingly works. Wilson has said if the band continues, it would likely be in this vein. I wouldn’t be mad about that. 8/10

7. Chimera Wreck

This track is a tale of two halves. The first part is fantastic: acoustic guitars, moody atmospheric keyboards, and the vocals are brilliant. It’s filled with dark tension that keeps the listener on the edge of the seat, even when the bass guitar kicks in. And then, at about the 5:20 mark, things take a turn for… something. The electric guitar kicks in and we’re given a solo that sounds like it could’ve been featured on The Stone Roses’ Second Coming. Eventually, it shifts back into more of the feel of the beginning, but electrified. Overall, it’s a bit of a head-scratcher: there’s so much that I love about this song, but that mid-section is a buzzkill. 7.5/10

On streaming editions, you’ll find three bonus tracks that are found on the deluxe CD edition:

• ‘Population Three’ - A nice little instrumental that’s a bit keyboard heavy, but quite good. Not quite up to the tone of the rest of the record, but great nevertheless.
• ‘Never Have’ - This is Wilson doing an Anathema, which I have no problem with whatsoever. Again, not quite in the same realm as the rest of the record, but it fits in well with the list of excellent PT b-sides that probably should’ve been on an album.
• ‘Love in the Past Tense’ - Absolutely stunning: better than most of the proper record. The harmonies are wonderful, the keyboards are simply enchanting, and the drums complement the track perfectly without being busy.

After twelve long years convinced that this record would never happen, I’m pleased with the results. It certainly has its flaws, but there’s definitely a way forward, should the band choose to carry on. I enjoy it far more than I did Wilson’s last two solo records, and I think it slots in nicely around the middle tier of the Porcupine Tree catalogue. Whether it’s, as the title suggests, closure or continuation for them, I’m satisfied either way. If you’re new to the band and want to hear more, check out my PT Primer for an introduction to their history!