THE RAVEN THAT REFUSED TO SING (AND OTHER STORIES)

This is the record of someone who is not afraid to hide their influences, a statement made by someone passionate about what they do and hear. It is no secret that Steven Wilson is a experimental / progressive '70s music's lover, and in their various side projects he has the opportunity to show each of the facets that inspired him in his solo shows he willing to exhibit them at your leisure. If Insurgentes was an homage to new wave / alternative rock / drone music of the 80s (still lack hear him to draw my own conclusions) and Grace for Drowning was laden with references to the eclectic music / experimental '70s, The Raven That Refused to Sing (and Other Stories) it is "basically" the update that is most genuine and pure progressive classic rock.

This is the masterpiece I knew he could do.

First of all I must say that I am not part of the majority who agree that his predecessor, Grace for Drowning, was a masterpiece. In my opinion it was an album of good moments, but mostly super-ships, where Steven failed to show all his talent. But The Raven ... is actually magnum opus this man, the fulfillment of years of work and creativity of this modern genius. No wonder it is highly sought about musicians, and I must make mention specifically for bassist Nick Beggs, drummer Marco Minnerman and flutist / saxophonist Theo Travis, this little figure repeated in prog albums.

If you're doubting my words about The Raven ... be a genuine progressive album, listen to the first four minutes of the opening Luminol. Although Wilson is the frontman of this line- up, is Beggs who dominates this majestic introduction with his poignant and fretless bass, which is one of the most reverent to the prog classic that I have heard in recent times. One notable thing is that it has been played at concerts since last year, as seen in his DVD Get All You Deserve. For this presentation you can see that Steven seems a little doidinho with those weird gestures and how they guide their companions. This is an epic song, in twelve minutes, is the longest on the album. It is divided into three distinct sections: the introductory jam, a quieter section with smooth vocals and instruments (which is a beautiful thing to hear) and more an instrumental part where some themes are repeated and musicians and will return to meshing "fury "from the beginning. A masterpiece.

Drive Home is the kind of perfect complement, referenced with 21st Century Schizoid Man / I Talk to Wind: a track rather quiet, with soft vocals and ethereal passages quite pastoral. She gains strength from the stupendous and dramatic solo Steven, who is really a glimpse. The Holy Drinker music is darker, my lack of knowledge of English prevents me from understanding the contents of the letters, but it should be a pretty grim subject. The vocal harmonies of the chorus are a sideshow. And its end, with that terrifying mellotron, is bristling hairs. The Pin Drop is shorter here, and by far the most "heavy" in its chorus that combines rhythmic passages with vocal harmonies (Steven really like that sort of thing).

The Watchmaker is where the references are more obvious. If you associate your beginning and pastoral passages with soft guitars and flutes to Genesis, then you are on the right track. It is indescribably beautiful. Now, as to its frightening end I have my issues. I think the music deserved a few more minutes. If it was an epic about 17 minutes, I think I'd be satisfied. Yet it is genius. The title track closes the album, and this may be the most beautiful and emotional that this genius has written. The sad story of a man who combines a crow to the spirit of his dead sister (I recommend you to watch the clip) is beautiful, even more by sweet melodies and majestic that accompany it. Without haste she grows, until its final apotheotic. Perfection in music that makes me love progressive rock.

5 stars. I know the year is just beginning, but as Steven Wilson as Riverside has guaranteed their positions in the TOP 10 at the end of the year.

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