Porcupine Tree and Opeth are both bands with distinctive sounds – Pink Floydian prog rock on one side, and sprawling progressive death metal on the other. So you could be forgiven for expecting a collaboration between each band’s masterminds (Porcupine Tree’s Steven Wilson, Opeth’s Mikael Åkerfeldt) to be a progressive death metal epic full of odd time signatures, crushing riffs, growled vocals and ambient guitar solos. But for hints as to what you can expect from Storm Corrosion, you need to look into each artist’s most recent works. Wilson’s Grace For Drowning leans more towards lush soundscapes and psychedelic ambience, while Opeth’s Heritage could have come straight out of the seventies, with its vintage progressive rock (rather than progressive metal) elements that share more in common with King Crimson and Yes than Dream Theater and Symphony X.
And it’s here, in the middle of these two releases, that we find Storm Corrosion. The album’s six tracks – the term ‘song’ doesn’t quite cover it in this case – typically end up in a very different place to where they start, with structures that seem dictated by the previous note rather than any adherence to accepted song structures. And that’s a big reason why it’s such an engaging experience.