Steven Wilson - The Raven That Refused To Sing (and other stories)

Steven Wilson's 3rd solo album will be released on Feb. 25th, here is the information from the press release:

The new album by Steven Wilson and band “The Raven that Refused to Sing (and other stories)” will be released on Kscope on 25th February. The album was written between January-July and recorded in Los Angeles in September with Steven’s current band line up of Guthrie Govan – lead guitar, Nick Beggs – bass guitar, Marco Minnemann – drums, Adam Holzman – keyboards, Theo Travis – saxophone / flute and engineered by legendary producer/engineer Alan Parsons.



The 6 tracks on the album are based on stories of the supernatural and the deluxe 4 disc edition comes in the form of a 128 page hardback book containing lyrics and ghost stories, illustrated by Hajo Mueller. There will also be stand alone double vinyl, CD and Blu-Ray editions. Pre-orders for the limited deluxe edition will start soon, while the tour to promote the album starts on 1st March in Europe, and will continue throughout the rest of the year visiting many other countries, with many dates yet to be announced.

Track listing:
1. Luminol (12.10)
2. Drive Home (7.37)
3. The Holy Drinker (10.13)
4. The Pin Drop (5.03)
5. The Watchmaker (11.43)
6. The Raven that Refused to Sing (7.57)

Here is a live version of the new song "Luminol" from Steven's Get All You Deserve concert video.

The pace of his new output is pretty incredible. That's 3 albums in just over a year.
What do you think of Luminol? I listened to it a few months ago and wasn't too into it, but I'll give it another spin.

I think Luminol is fantastic, he's channeling some early 70s fusion into his sound along with the prog influences now.

The album was mostly recorded live in the studio with all the musicians playing together, Wilson's focus is more on capturing improvisation with his new band. That's why he hired players that were well versed in jazz improv, he wants the spontaneity inherent in this approach.

I'm very excited about the album.

That "Luminol" tune sounds like a mixed drink of 70's King Crimson, 80's new wave, and a chaser of "ina-a-godda-da-vida"

James B. wrote:

and a chaser of "ina-a-godda-da-vida"

I definitely don't hear that.

Wilson has spent the past couple years remixing and remastering the entire King Crimson catalog, so I can definitely understand how that has influenced his recent writing, there was quite a bit of King Crimson influence on his last album as well.

S.D. wrote:

James B. wrote:

and a chaser of "ina-a-godda-da-vida"

I definitely don't hear that.

The over the top drumming, the over bearing keyboards with some crunchy guitar gives it a semblance though not verbatim by any means.

s'pose it merits whether ones licks the salt or bites the lime first

James B. wrote:

The over the top drumming, the over bearing keyboards with some crunchy guitar gives it a semblance though not verbatim by any means.

Interesting, I wouldn't describe any of this as "over the top" or "overbearing", of course this is the type of music that really inspires me so I guess I'm biased.

Here's a short clip taken during the recording session, the band is working on the song "The Watchmaker".

S.D. wrote:

James B. wrote:

The over the top drumming, the over bearing keyboards with some crunchy guitar gives it a semblance though not verbatim by any means.

Interesting, I wouldn't describe any of this as "over the top" or "overbearing", of course this is the type of music that really inspires me so I guess I'm biased.

Here's a short clip taken during the recording session, the band is working on the song "The Watchmaker".

This is how I describe most jazz/fusion stuff.

Not knocking it by no means.

Music to me should have flow, feeeling,vibe, groove and have a place to begiin, thus go to. Alot of this style sounds like everyone is going a different place though they are on the same road. Some detour and arrive to late, and do way too much in the process.

Dig the different flavors in the recipe. Just seems they have a blender with way too many settings and they try too hard to make sure all the buttons get pushed before it's all said and done.

We're just coming at it from different angles.

I love collective improvisation, the "walking the tightrope without a net" quality, the risk-taking where it either works beautifully or has the potential to crash and burn, that "composing in the moment" vibe is why I love jazz so much. The exhilaration when it all comes together is 100 times more interesting to me than a band who learns their studio album note for note and never changes a thing.

It takes a certain type of player to pull this music off...and also a certain type of listener to appreciate the process. When I was younger I didn't "get it", but as an adult I found myself gravitating toward this style and nothing else quite inspires me the same way.

Wilson has found a way to work in these "fusion elements" into composed long-form pieces, the juxtaposition of composition/improvisation gives a push/pull dynamic to the music that makes it come alive.

Music should inspire Shawn, regardless of preconceived notions or personal nuances.


I have tried to get it, alot. trust me

My problem is I'm a drummer accustomed to being the one "keeping things at home" or "driving the car", so-to-speak.

The lil bit of jazz/fusion I've played, that dept. fell on others shoes. The time signatures were different but not difficult to deal with once that particular approach clicked in the head.

I just seemed to be following way behind this guy for so mnay measures, chasing that guy, while somebody else rode my @$$ then passed me and took the lead, going in reverse and around the block in the process.

Sounds like you were jamming with the wrong players, this type of music forces the band members to form a symbiotic relationship to one another, to listen and react to what the other players are doing. It takes discipline, tons of practice and a mindset that allows the player to let go of what he is doing and focus instead on how his parts change the nature/structure of the overall piece that they are playing/composing on the fly.

Many attempt this and do it poorly, but the right combination of players can sync up and create magic.

I don't think a song is ever "finished", it can always be a jumping off point into new areas of expression. I probably have 15 live versions of King Crimson playing 21st Century Schizoid Man and they never play it exactly the same way twice, sometimes it might be close to the album version, sometimes it can stretch into a 20 minute jam, some versions feature an extended guitar solo, some an extended sax solo, sometimes both. That's why I never get tired of the song or the band and I admire their mindset to keep tinkering with the formula.

I dig jamming and going places, jazz just isn't my personal mode of transportation.


Funny you mentioned, "wrong players"

That was kinda/sorta what they said regarding me, "I was listening but with the wrong set of ears". Maybe I should've wore my Steely Dan shirt instead of that Virgin Steele one ?

As much as I enjoy his work in Porcupine Tree and the Storm Corrision project, I have yet to warm-up to Steven's solo efforts.

The stuff I've heard just doesn't click with me. Too something that I can't put my finger on. And the clip posted above isn't doing that any favors. He's certinaly got talent and vision in spades, but I just don't think this project is for me.

Six tracks, four discs. Sigh...

Eyesore wrote:

Six tracks, four discs. Sigh...

Anything worth doing is worth over-doing, right?

Eyesore wrote:

Six tracks, four discs. Sigh...

Well only the deluxe edition is 4 discs, right?


I gave Luminol another listen and I still have mixed feelings about it. The early up-tempo part is what I don't like much. To me it's kind of generic prog metal stuff, kind of reminds me of Dream Theater or something. But after they get out of that segment I do really like it, especially the King Crimson-influenced that SD noted already.

So I think it starts off less than promising, but I do like the bulk of the song.

MetalGuy71 wrote:

As much as I enjoy his work in Porcupine Tree and the Storm Corrision project, I have yet to warm-up to Steven's solo efforts.

I would say about half of Insurgentes (his first solo album) would have worked just fine as a Porcupine Tree record as there isn't much difference overall, the other half of the record had him experimenting in a variety of areas.

Grace For Drowning was a "mood" record, very dark throughout which didn't exactly make it a "fun" record but it was a very interesting one. There is alot of similarity between Storm Corrosion and Grace For Drowning, as they were both written around the same time.

I really don't think his solo albums are that big of a stylistic stretch if you're already familiar with the numerous style changes Porcupine Tree has gone through over the years. You can still definitely tell who the writer is, he's just found less rigid structures to work within.

He said he wanted the new album to be "the opposite of Grace For Drowning", where that album was very composed and orchestrated, he wants this new record to be spontaneous and energetic.

I would gather that his solo albums work better as a "whole album listening experience", rather than just picking a song or 2. Unfortunately, that what my opinions are based on.

If I ever stumbled across any of his discs for cheap, I'd probably pick them up just out of curosity. In the meantime, I've got plenty of other musical endeavours to indulge my listening habits.

Not sure how many of you are familiar with Steven's soundcloud page, but if you haven't been there in a while, or have never been there, definitely check it out, there are some awesome downloads available for free: http://soundcloud.com/steven-wilson

Even if you're only a fan of Porcupine Tree, there are some PT songs on there in early demo form, as well as a few tracks that are of the heavier PT sound (Godfearing, Cut Ribbon). There are also five tracks from the Insurgentes bonus disc.

James B. wrote:

That "Luminol" tune sounds like a mixed drink of 70's King Crimson, 80's new wave, and a chaser of "ina-a-godda-da-vida"

Where do u get those art sigs from? I really like them. That's the second one I've seen under your name. Did you paint them?

Chrome Locust wrote:

Where do u get those art sigs from? I really like them. That's the second one I've seen under your name. Did you paint them?

The artist is David Mann (RIP)

Best known for the "centerfold" each month in Easy Rider magazine. Which is where the sigs I have used are from. It was part of my formative years and still something I dig alot.

MetalGuy71 wrote:

I would gather that his solo albums work better as a "whole album listening experience", rather than just picking a song or 2. Unfortunately, that what my opinions are based on.

Yes, Steven generally thinks in terms of "album experience". Only sampling individual tracks can give you a false impression of the album due to all the stylistic jumps that work best when heard in sequence.

**now for something COOL!**

Here is an un-used guitar solo Steven recorded for Opeth's "The Masters Apprentices"...

I was researching Alan Parson Project before posting in the APP thread in this area and I learned Parsons is the engineer on this album.

Eyesore wrote:

Six tracks, four discs. Sigh...

This 4 disc deluxe edition of the album is presented in a 128 page hardback book - illustrated by Hajo Mueller -containing lyrics and ghost stories.

CD1 - studio album

CD2 - 7 demo tracks (album tracks plus one unused idea, Clock Song)

DVD-V - 96/24 Stereo LPCM of the album, plus 2 x 5.1 mixes of album (DTS 96/24 5.1 surround & Dolby AC3 5.1 surround
Art Gallery (images by Hajo Mueller)
Photo Gallery (photographs by Lasse Hoile)
Studio Documentary (filmed and edited by Lasse Hoile)

Blu-Ray - 96/24 Stereo LPCM of the album, plus 2 x 5.1 mixes of album (96/24 5.1 LPCM & DTS-HD Master Audio 5.1)
Instrumental versions of the album tracks (96/24 Stereo LPCM),
bonus track ('Drive Home - lounge version', also 96/24 Stereo LPCM).
Art Gallery (images by Hajo Mueller)
Photo Gallery (photographs by Lasse Hoile)
Studio Documentary (filmed and edited by Lasse Hoile)

The individual blu-ray release is what I'll end up getting, the instrumental versions of the album plus the 24/96 stereo are the main things I'm interested in. His previous blu-ray releases have sounded absolutely stunning, no reason for me to buy the CD because they would never get played.

The latest issue of Prog magazine.