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Steven Wilson - The Raven That Refused to Sing (and Other Stories) CD (album) cover

THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)

Steven Wilson

 

Crossover Prog

4.31 | 2369 ratings

From Progarchives.com, the ultimate progressive rock music website

Xonty
3 stars Steven Wilson's "The Raven" is a decent attempt of a 70s/retro-prog with a bit of a twist, but overall the whole package is unexciting. Like the cover, the best part of the music on there seems dreary and grey (not helped by the repetitive use of meaningful themes about death and the supernatural). Of course, Wilson's talents are pretty undeniable when it comes to playing and writing progressive music, but aren't brought across well enough on this album. It seems very same, and merely shows his potential for me, with brief moments of soulful, intricate and original composition. This keeps the album breathing, at a fairly solid 3 stars. That said, I am for some reason drawn to listen to this album despite my issues with it, pushing it up to the higher regions of 3 stars. I can definitely appreciate what people like on "The Raven", and the familiarity with bands like Pink Floyd and King Crimson that seem to reassure these Wilson fans, but I personally look for something innovative and more risk-taking (the real definition of progressive) which will help me to bond with the music. On the whole, I guess I'm not a fan.

"Luminol" is a strong opener, but is a little too stretched out for my liking. The intro is nice and melodic with a good feeling of a sort of controlled passion emanating from the numerous instruments. Those harmonies and lyrics are pretty typical as prog goes, and gets more cringeworthy every time I listen to it. The song doesn't feel sound like it was intended to be written though (a display of Steven's ranges in songwriting and performance to blow the listener away with intense moments of sort of light and shade). The story of the dead busker is quite sweet, and the best section of the song, and perhaps side one. The lyrics are more thought out and fitting, as are the guitars and flutes. Of course, there are still a few cliches put in the background to keep him on steady ground, plus the airy ascent virtually identical to "Heart Of The Sunrise" (or something on Fragile?). On the whole, the track goes through a few changes to keep it moving along and entice the listener, but there are many weak moments and very few astounding ones.

"Drive Home" is intended a much gentler and emotional track, but you can't get over how it feels like an inferior clone to the prog giants Wilson is trying to match but doesn't manage to. Whilst definitely an impressive feat to write an album like this alone, I feel he's going down the wrong path with his music and could become something more long-lasting. The song contains some mediocre acoustic arpeggios and predictable, fairly lazy harmonies really. Just a bunch of melodies stuck together really, and Govan's guitar just drags on by the time of his solo (which kicks off much later that it should). You get the bare minimum given to you to keep you focused, but nothing at all amazing or ground-breaking here.

"The Holy Drinker" is the same kind of thing. Lifeless frilly flutes and guitars taped together over a static chord progression. The mellotrons and keyboards don't seem to do anything either. By the time Steven's vocals enter, it evolves into a pretty textbook sly atmosphere. After "unquenchable thirst", there is a pleasant surge of power but this isn't altered on repeats and becomes a little apathetic. You just sort of accept what's going on but aren't really listening, so when another instrument enters, you focus much more on what it's doing. A fairly sagacious technique, but I'm glad I saw through it. The lyrics are overall poor, and all of the better sounding ones are copies of what Genesis would use. Such a painful drag by the end.

"The Pin Drop" follows. Instantly you can recognise the relation with the melodies from Pink Floyd's "Animals", but well placed really (as lazy writing goes). One of the better tracks, with a brighter more lively feel combines with the dark droning sort of harmonies you here from prog metal bands. Comparable to "Drive Home", but with a more rigid storyline and musical base. Therefore, the eccentric but melodic noodling fits over the top and comes together better. Despite this, I'd still much prefer to listen to something by Pink Floyd. As I've said already, he's set himself some extremely difficult-to-conquer rivals in choosing this genre, and is still far from winning.

"The Watchmaker" reminds me of Rush's most recent effort "Clockwork Angels". Unfortunately for this review, that album is one of my most treasured by that notorious heavy prog outfit, so I'm going to be pretty biased and judgemental. For a lyrically narrated 12-minute track, the story is not good at all. Thinking of songs like Genesis' "Musical Box" and "The Battle Of Epping Forest", this is undoubtedly weak in comparison, due to its lack of experimentation with chords and the evolution of storytelling. The song has some nods to Genesis too, in the suspended acoustic guitars and sweet falsetto airy melodies, not to mention the tight drumming, resonant organs, fuzzed guitars, and use of the flute. As a huge Genesis fan, I do connect with this track more than the others, and it is quite well arranged in sections. More admirable moments on here than possibly any other track on the album, so a good piece really.

"The Raven That Refused To Sing" closes the album. Seeing as this is one of the stronger tracks, I would have preferred it to be used on side one to keep me more engaged. "The Watchmaker" or "Luminol" would have made just as good an ending. Anyway, a beautiful chord progression (incredibly similar to one I wrote a couple of years ago) but somewhat overblown by the end. The video attaches a strong emotion to the song, so it's hard not to imagine it with a fresh mind set. A good bass line, and occasional melodies are slotted well into the track (but often over used). Adapts a charming atmosphere, and isn't too rushed or as obvious in indulgence. Feels more honest and listenable, with some great lyrics. It only really falters in perhaps a reluctance to move around (although it could upset the feel), and the arrangements/passages on some instruments, which also enter at the wrong time. Nevertheless, the best track on the acclaimed "best prog rock album of 2013". The superb motifs and contrasts make a pretty stunning conclusion to Wilson's otherwise uneventful work.

C(+): Evidently a very subjective album, difficult to recommend. For me, quite a tedious listen flavoured only by the odd occurrence of an elaborate musical passage.

Luminol: **** Drive Home: *** The Holy Drinker: *** The Pin Drop: *** The Watchmaker: **** The Raven That Refused To Sing: ****

Xonty | 3/5 |

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