Gavin Harrison performs with Porcupine Tree. Picture by Claudia Hahn

One of the most respected drummers in contemporary music, London resident GAVIN HARRISON is well known for his time-twisting rhythmic concepts and masterly touch on the instrument. But while Gavin has been a very popular clinician for Zildjian cymbals and Sonor drums and his books and DVDs are veritable bibles for the intelligent drummer, his reputation had been largely confined to the drumming community, till he joined British progressive rockers/ambience masters/everything-in-between PORCUPINE TREE in 2002. Since the cult band’s breakthrough album, 2004’s In Absentia, which showcased Gavin’s incredible playing, the band has moved from strength to strength, with its latest release The Incident garnering rave reviews. Porcupine Tree is scheduled to headline IIT-Mumbai’s annual festival, Mood Indigo, on December 21. t2 speaks to the modern-day master about versatility, the PT experience and “great expectations” from India...

From playing with everyone from Lisa Stansfield to Eros Ramazotti, how does it feel to be hailed as the king of modern-day progressive rock drumming?

Actually, very strange. I’ve never thought of myself really as any ‘kind’ of drummer — the thing I grew up listening to the most was jazz music. I’m happy if people think I’m a good prog rock drummer, of course, but I don’t really get so much into genres.

What are your expectations for your India show? Are you aware of a large fan base in this country?

We have no idea what it will be like or how many people will know us. It really is an exciting trip into the unknown for us.

How long a set will the band play in Mumbai?

I think about 90 minutes.

Has any Indian instrument caught your interest? What about the tabla?

I had a band in the late 80s called Dizrhythmia with a tabla player called Pandit Dinesh and we had a few Indian players guest on that record and Sultan Khan played sarangi on my first solo album in the mid 90s.

Are there any Indian musicians you would like to work with?

I’d love to play with Zakir Hussain. He really is a master of rhythm.

What does it feel like being in the drummer’s throne of a band like this, with its amazing visuals that sway with the mood of the concert?

Unfortunately I don’t really get to see the images whilst we’re playing because they are going on behind me on the big screen, but of course I do see them at the time they are made. It’s music you have to concentrate on whilst you’re performing it — so it takes a few concerts before you can really relax a bit.

Which has been your favourite recent PT concert?

The Heineken Music Hall in Amsterdam just a week ago was an amazing concert. Probably the biggest gig we’ve played so far.

You never play a song the same way on consecutive nights. How do you keep the show experience fresh, night after night?

I improvise in small ways all the time. Maybe it’s not so noticeable to the public but I know it’s different and that keeps me interested. I’m always looking for a better way to play any song — even in subtle ways.

Any pre-gig rituals that the whole band follows?

Not really but we like to be left on our own at least 30 minutes before the concert so we can focus and not be distracted.

With The Incident being released just about a month ago, are you playing it in its entirety — as one, 55-minute track?

On this tour we are playing the entire 55 minute Incident cycle and then we take a small 10-minute break. After that we come back and play a selection of songs from the past records. I can’t guarantee that we will do exactly that when we play in India — it doesn’t always work well in a festival situation and as it’s our first time, we might play some more PT ‘classics’ instead.

For The Incident, were shorter interludes worked on and then woven together?

Yes, we had The Incident split into five different sections that we all knew would be woven together in the mix. Some of the sections were written after the initial piece that Steve presented us with.

While writing a concept album, how do you ensure that parts of it don’t become contrived?

You can’t really. When you work on something so much you can’t see the wood for the trees. We’re confident that the chemistry between the four of us will steer us in a good direction. A PT direction.

Do you ever pen lyrics?

Not for PT. I have tried with other projects but it’s not something I’ve really spent much time doing.

What plans for your solo projects? Do you plan to come out with a percussion/drumming record in the future?

I’ve been very happy with my most recent collaboration with 05Ric. We’ve made two great records and I think it’s the most advanced rhythmical stuff I’ve ever played.

PT POINTS

• Porcupine Tree: (l-r) Richard Barbieri, Steven Wilson, Gavin Harrison and Colin Edwin

  Porcupine Tree was formed by singer/producer Steven Wilson in 1987 in Hertfordshire, England. Initially, Wilson created PT as a “legendary fictional band” as a prank, with a complete discography, fictional band members, and a ‘history’ that included members doing jail time.
  
  
• In order to back it up, Wilson created the first 80-minute long PT music piece, showcased in the album Tarquin’s Seaweed Farm. Asked to contribute to a collection of British underground psychedelic bands, Wilson worked on the rare EP Love, Death & Mussolini, followed by The Nostalgia Factory. The band still carried on the charade of being ’70s rock legends.
  
  
• The first ‘official’ PT record On The Sunday Of Life was released in 1991. PT’s music grew even more experimental, seen in the 30-minute long single Voyage 34, melding ambient trance with what came to be known as “liquid rock” guitar solos.
  
  
• Wilson finally ‘formed’ the band in December 1993, with himself on lead vocals/guitar, Colin Edwin on bass, Chris Maitland on drums and Richard Barbieri on keyboards. Released in 1995, PT’s third album, The Sky Moves Sideways, was hailed as a progressive rock masterpiece and PT was dubbed the Pink Floyd of the Nineties.
  
  
• Gavin Harrison joined PT after Maitland’s departure in 2002. The band’s 2004 record, In Absentia, went on to become its best selling record.
  
  
• During the tours to promote In Absentia, the visual element of the band’s performance was taken to new heights with the involvement of Dutch photographer/filmmaker Lasse Hoile, who created a dark and surreal visual counterpoint to the music.