The Raven Brothers - new music to hear

The Raven Brothers

From reverbnation the band have a number of songs for download here. http://www.reverbnation.com/theravenbrothers

ST - Songs/Soundtracks for Film and TV.

WDP&TRB William Donnie Picou and The Raven Brothers - A collection of rock songs by the gifted singer/song writer William Donnie Picou.

Product - A compendium of original songs & music compositions from the studio. Featuring Maggie Evans - with Gothic Dark Shadows overtones.

Here’s my review of these songs;

‘Brave Free Men’ is somewhat reminiscent lyrically of Hawkwind or early 70s space psych prog. It may even be as quirky as Pink Floyd fronted by Barrett when one considers the feel of this track. The lyrics mention clichés and a space prog ideology of imagery such as starshine, the galaxy, rocket ships, and the chorus tells us help is on the way, faster than the speed of light. A moderate track that is catchy enough to grow on you. A good start.

‘Maggie Evans’ is a very slow laid back love song sung with some feeling. A low key vocal dubbed over multiple tells of Maggie who is “is in my dreams… on a summers day walking down the street… on a Sunday afternoon.” On Tuesday morning Maggie opens up a Diners door pours a coffee for the people who have nowhere else to go. The singer says he needs her more than he has ever needed anyone before. It is upbeat music and very melodic with a sombre reflective theme.

‘The Countdown Has Begun’ and someone has to save the day, but who? “Searching for answers  for questions we never need to ask, something to get me through the day… looking in vain up to the sky all long gone what could they even think to say?” The moderate beat drives it a long and once again this is reflective on life and the future if there is one. This one grew on me quicker and I like the way the melody does not detract from the overall down-key thematic content. There is an intriguing solo section midway using a woodwind sound on keyboards, clarinet in tone, and very appropriate to the atmosphere.

‘Quadrandits’ has a slow feel with strong piano and battle drum patterns. Some keyboard motifs drive it along. The instrumental is enhanced with choral voices using a synthesizer, similar to the tone of a Yamaha on choral setting; the result is an ethereal atmosphere with Gothic overtones.

‘Three to Two’ is from the Product project and has a strong beat and jangly guitar throughout. The track is an instrumental that could have really done with some vocals as it becomes quite repetitive but the melody is endearing enough to hold my attention. Vocals would definitely make a huge difference for the better so let’s hope that the band add some on an album. The lead break is a welcome addition and well played with squealing arpeggios and speed picking. Then the original riff returns but is exactly as earlier so not enough variation for my ears.

‘Carolyn’s Theme’ from  ‘Goin’ Green’ has a superb bassline that is funky and infectious. The guitars complement this instrumental well with a rather sporadic drum metrical pattern that drives it headlong. The main riff is excellent and one for the bassplayer to shine. A rather loud abrasive guitar riff crunches over for a moment and then it returns to the main motif. It gets into repetitive territory here and a lead break or synth solo seemed a necessary component at this point, though I loved the guitar chimes to follow and then it eventually launches into a divine wah wah lead break. Some magnificent playing on this make it a highlight of the band’s repertoire. The riffs really hook into a groove and it is a memorable excursion into cool adventurous soundscapes.

‘Fairies Dancing on a Dandelion’ is a rather naff title and the music is dominated by soft guitar chords strummed along to a steady drum beat. A nice little guitar riff locks in for a time in the same melody but picked faster rather than strummed. The feel is dreamy and relaxing. The cymbal splashes are great and remind me of large waves washing up on jagged rocks, rather than a fairy jigging on a yellow flower, but instrumentals are really open to interpretation. I would have liked some solo instrumentation to complement the rhythmic music but it is quite a simple form of music without any specific instrumental solos.

‘Joe The Psycho’ has a huge bass line and reminds me of a Secret Agent movie with crescendos and playing up and down the scales. The guitars are clean once again and quite innovative in the manner in which they complement the bass and very strong drum beat. Instrumentals need some variation in the midst of all the melodies but there are none found here. The rhythm is strong though and that bass is fabulous; almost King Crimson Fripp style playing too, at least as far as the polyrhythmic metrics.

‘Don’t Wanna Know’ is from ‘Goin’ Green’ with a heavy percussion pattern and some inspired lead guitar swells, quite ethereal in atmosphere. This feels darker due to the strange guitar playing and ghostly synth noises. The music is sparse at times and replete with a bleak hostile environment made possible with unusual guitars that echo in and out of the soundscape and eerie choral white noise. Perhaps this is more experimental than other pieces from the band and it is unsettling uneasy listening, a real surprise given the content of the other tracks available.

‘Rose of Arabia’ from ‘Goin’ Green’ begins with an odd percussive shape and low key bass. The ominous atmosphere of dread is compelling especially with morbid keyboard motifs and sustained guitar tones. The atmosphere is decidedly African due to the percussion rhythms and again this feels experimental and progressive. The solo is divine acoustic guitar and a delightful enhancement to the overall environment. There is an Arabian melody with the guitars which sound Arabian in the way they are played and the effects pedals utilised. An intriguing conceptual piece that works well on every level.