During a recent discussion on a message board somebody mentioned Steven Wilson's The Raven That Refused to Sing as a flawless album. I have had the album in my possession for a few years now, have tried giving it a spin a few times, but it has always fallen short of really grabbing me.
The problem I ran into with first giving this a spin is that it is without a doubt a Steven Wilson product. For those who do not know, Steven Wilson is the creative force behind Porcupine Tree. Porcupine Tree, for those who do not know, are a Progressive Rock band that took the Prog world by storm (minor breeze in the air in the greater scope of music) back in the 90s. Wilson is an incredibly talented musician, but the problem one can run into is that he has a very distinctive style. He is not one who blends into the surroundings, he instead will blend the surroundings into himself. Case in point being the work he did with Fish, the former vocalist for Marillion. It was no longer a Fish release, as much as it was a "Fish singing for Steven Wilson." This is a wonderful thing if Wilson is your guy, but if his style rubs you a little wrong, then whatever he touches will possibly not be your cup of tea.
So on the shelf that Raven sat. Until today.
One of Wilson's goals, from what I have been told, is that he wanted this to harken back to the glory days of Prog. He wanted analogue. He wanted that warm feeling. So, I am compensating as best I can at this point. For my listen I am having to use a digital download version (sorry, I do not have the vinyl and I can't afford to spend the money on the vinyl at this time), but I will be using my Yamaha Orthodynamic YH-1 headphones! These headphones were bought new by my parents back in 1978 and were considering quite revolutionary for the time. They still sound wonderful and if I had the vinyl I would be able to tell you exactly how well Wilson achieved the goal of re-creating a certain vibe. As is, we will have to deal with the digital download aspect. Sorry.
First things first, even though I do not have the vinyl or actual CD version (sorry audiophiles, stoning may commence as soon as you find me), the production on this is pretty ridiculous. One of those recordings that make just the act of listening a nice experience. One of those times when even the non-audiophile will hear something and think "Gee, that is pleasant."
"Luminol" is a rather fitting tune to be listening to so close to the departure of Chris Squire from this planet. The driving force behind the song is a bass riff that would have been comfortable under the power of Squire, bringing about memories of "Tempus Fugit" from Drama.
At this point I do understand the massive love that Proggies have had for this album. I am not saying I am sold yet, but this dang thing is using every single trick in the Prog handbook. Name a Prog act and at 3:27 into the song every band has been present in some way shape or form. No, not stealing from them, but definitely influences.
That bass run is so intoxicating. I would have to guess that in the studio they had to just keep shutting off everything but the bass and drums and just enjoy this groove. It is that type of bass playing that when the jokes about bassists start up one just thinks of that and goes "Yeah, but . . . "
Nice melody for song two, "Drive Home." The song starts out as a beautiful and gentle melody, but by the time we reach the guitar solo that beauty starts exploding into a rabid flurry of notes and distortion, but never losing the melody under it all.
Time for some headphone workout with "The Holy Drinker." A tune to make a Crimson fan happy as Jazz and Prog Rock collide head-on in an Avant-Garde landscape, which eventually leads into a nice tight Rock groove.
One aspect that I think drives me a little crazy with Wilson is his dropping into total spacey moments, even when he has a wonderful groove going. Yes, this is a key to Prog, having these moments breath life and story into the structure of the songs. I am not saying that they do not work, but when Wilson hits that groove and really brings out the Rock, he does so in such a powerful way that when it leaves it really is frustrating, and at times makes me wish he would just make a 10 song, half-hour explosion of Rock anthems. Remember, my main love in life is Glam and straight-up Rock and Roll, and that part of me takes over in this situation.
"The Pin Drop" is a fascinating little number. Swirling music, nicely layered vocals that mix into the swirls, opening up to a wonderful and full chorus that holds onto the swirling feel.
Uh-oh . . . Steve Hackett time? "The Watchmaker" started up, just an acoustic beginning and Hackett popped into my head. I don't wish to make a comparison, as really there isn't anymore of a Hackett connection here than there would be with any other acoustic guitar. Maybe. Actually, there might be a tonal similarity to it Genesis going on in that guitar. Let's see if it steps into a Genesis mode in a second here.
By the way, can you tell I am writing this exactly as I hear it? This is a stream of consciousness writing project happening at this very moment. Good thing for you it is a short album.
Nope, won't do the Genesis thing. At 4:30 though it does get super good. Dropping in that Squire-ish bass, flute, and just another wonderful groove. Eventually the song takes numerous more shifts, all of which drop in and out without a single jarring moment, as each segment works into the next so that the shifts never seem wrong, even the most jarring move towards the 10:30 mark. The music switched just enough before the big break to make the song work.
Final proper tune (my version has a demo track for "The Holy Drinker," but I am not counting that one) is the title track, "The Raven That Refused To Sing" and it opens with a haunting piano and light vocal melody. "Haunting" is easily the best way to describe this song. It digs in deep into the brain and settles in, building into a beautiful song that holds onto that haunting side. It is that type of song that just builds and builds as it moves along, adding a little more to the emotion that you thought could not get any deeper or more intense. One of those songs that if you can connect to the lyrics at all it will leave you a quivering mess of tears and laughter by the end because somebody finally understands your own feelings.
Dang . . . this album really is as good as everybody gushed about 2 years ago. Bah . . . I bet I missed an absolutely fantastic tour for this thing. If one of you could be so kind to tell me that he did not tour the States, as so many do not, I would be much obliged. I am fine with being lied to about this.
