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Track listing All tracks written by unless otherwise notedNo. TitleWriter s Length1. Anesthetize' from Fear of a Blank Planet Ohio Forge Drill Press Manual Sekirei Season 3 Sub Indo Batch I firmly believe that the peak of one of prog rock's strongest periods is 'The Raven' by Steven Wilson, a very well-crafted album, tremendously well produced and sufficiently original not to sound like an invocation of a long-gone musical genre, that is severely unfashionable.
Nothing like it, this record is a true journey for the music lover, and one that is worth every single second. Steven managed to make a radically new album, remembering the well-forgotten old; having made a new record for himself, he seemed to revive what existed in the 80s. And it became fresh and unexpected from the point of view of the author, as well as the listeners, who were expecting another Progressive metal album.
The concept is quite simple: the corporation titled "The Future Bites", which managed to produce goods characterized by the highest quality, having reduced its cost as much as possible, has completely depleted the earth's resources, leading humanity to war and extinction. The introductory part of "Self" comes from a randomly preserved neural network that has neither face nor individuality, listing the once meaningless hobbies of disappeared people, with obscene vocabulary skillfully inserted by Steven into the canvas of the song.
Particular attention should be paid to the composition "12 Things I Forgot". This is, in fact, a classic ballad in which Wilson sings to the accompaniment of simple guitar chords about the sorrows of a forced "secondary existence" and disappointment in the world around him Maybe about disappointment in himself?
About all those hobbies that the narrator forgot in the pursuit of profit. And "Man Of The People" - with an eerie disturbing video, this thing is the most "classic" here, if there is anything in this album that fits the term "classic" for the classic Steven, of course. But the composition is not devoid of true beauty and grandeur! And the magnum opus of the album - "Personal Shopper" - is an ominous little thing that "encompasses" the whole concept of the album.
As the beats die away, you can hear an ominous synth pad that can knock out even the most hardcore fans of the genre. And if you remember the concept of the album, it becomes absolutely incredible! To some extent, Steven succeeded in a unique thing: to make - as the basis of the album - facelessness, bringing it to the absolute, inscribing it into the canvas of the album and making it an artistic feature.
The edition is beauty! Faceless texts, faceless products, no names, no pictures. This album is like a gift from the future, where there is nothing left but simulacra that have completely trampled the world. A cautionary album? But this is not from the field of music. The album has an excellent pace to it, the interpretation is flawless and musicianship is top-notch. Songs go from short interludes to multiple-section ten-minute tracks. Steven's soft voice really fits the atmosphere of the record.
I find this to be an essential work and piece for any Steven Wilson fan and progressive rock fan in general. Absolutely recommend it, five stars. In all this context, it also has to be mentioned that this album serves as a part of a trilogy that features Opeth's 'Heritage', released in , as well, an album that has been met with mixed emotions, and Storm Corrosion's self-titled release, which is ultimately Wilson and Akerfeldt focusing on their more ethereal and aloof influences, creating a very elevated and picturesque collage of sonic explorations.
And then there is 'Grace for Drowning', a record that is quite different from both albums comprising this trilogy of kind. Another important element that could help us decode the sound of this album has to be the fact that Wilson had been working on the early 70s King Crimson albums at that time, and that influence is seriously prevalent throughout the whole minute album.
A very bold, artistic, and extravagant collection of songs and compositions, that sees Steven Wilson venture into the realm of jazz, fusion, and improvisation, with a wink towards the 70s jazz fusion scene, certainly reminding us not only of King Crimson, but also of Soft Machine, Mahavishnu Orchestra, and maybe even Herbie Hancock and Van der Graaf Generator.
To make things even more impressive, Wilson is joined by a stellar lineup of musicians from the progressive rock and fusion scenes, some of which include Jordan Rudess, Pat Mastelotto, Theo Travis, Nick Beggs, Dave Kerzner, Marcus Reuter, Trey Gunn, Steve Hackett, and Tony Levin - this really has to be his first grandiose love letter for the music of the 70s that he is so fond of.
Mind-blowing arrangements, masterful songwriting, pretentious lyrics, and grandiose musicianship on several occasions - these are some of the aspects that this record possesses, alongside the strongly emotive atmosphere that Wilson always manages to create through his music, this record contains very avant-garde numbers like the instrumental 'Sectarian', the bombastic 'Remainder the Black Dog', the ethereal 'Track One', and the big minute fusion suite 'Raider II', certainly of the best achievements for progressive rock in the decade of the s, some very strong songs that still have that touch of Porcupine Tree, and yet sound nothing like the then-extinct band, including 'Deform to Form a Star', 'Postcard', 'Index', and 'Like Dust I Have Cleared From My Eye'.
Excellent from front to back, this is one of the top albums not only in Steven Wilson's catalogue but also of 21st century progressive music, with the British multi-instrumentalist showcasing his seamless ability to shift styles with each new record to some quite impressive results.
The big difference here between SW's solo album and PT's albums is that this one is almost unapologetically sinister where is PT's albums you often got bits of sunlight and hope in them, there just isn't much of that to grasp onto in this album. That's okay, because that is what Wilson does best. The album itself was recorded in several different studios worldwide. One of those places is near Mexico City which is where the avenue that the album is named after is located; Avenida de los Insurgentes.
This excellent album is very dynamic, is quite dark and foreboding, yet it is pensive and lovely at the same time. It's this style that made Wilson so popular among heavy prog lovers. Wilson says he took inspiration from many different styles including shoegaze, post-rock, drone rock and etc for the songs on this album. Harmony Korine - Mid-tempo and dark with a jangling and descending riff supporting a familiar Wilson vocal tune. Heavy, repeated guitar chords build tension while sudden cut-offs provide some silent seconds to catch your breath.
Sounds very much like it could have been a Porcupine Tree track. Abandoner - Electronic percussion brings in a simple keyboard backing. Dissonant acoustic guitar plays against the simple synth as Steven's eerie vocals carry the tune. The minor key evokes the feeling of unease and later, eerie guitar quietly announce a sudden explosion of heavy darkness that seems to come out of nowhere. Dark and forboding. Salvaging - A slow, steady beat along with a pounding bass pushes this one forward.
Again, more of Steven's dark and dismal beauty permeates this track which brings in heavy guitar riffs in early. After 3 minutes, heavy, fuzzy guitar blasts forth over the pounding bass riff which continues to build tension. Vocals return at 4 minutes, then the whole thing quiets down to synths, a drum beat which soon ends and then things take an almost orchestral turn. Beautiful, chiming guitar notes echo above the strings as this lovely section continues.
However, after a while, the strings sound threatening and then plodding percussion and heavy dissonant droning takes over and pulls this track reluctantly to it's ending. Veneno Para Las Hadas - This one turns more atmospheric and pensive and the vocals take the melody against this more minimal background. The music swells slightly as it nears the middle and the repeating bass note in the background brings in tension as a lovely synth melody plays, but doesn't take over.
The softer sound continues and finally the chord resolves around 4 minutes in. The rest of the song mirrors a bit of hope as the song softens to a soft and muted piano as it ends. No Twilight Within the Courts of the Sun - Soft, but rambling percussion and sudden loud guitar outbursts make this one a bit trance-like. The bass builds the main riff in the background, getting louder and louder and the guitar gets more forceful.
It all crescendos to a dark and heavy groove while the guitar literally wails over the top of it all, and it still builds in intensity and loudness. After 3 minutes, the climax is reached and things become quite dark and intense as it pushes forward.
This suddenly drops off around 4 minutes as it gets quiet with just a bass, soft percussion again, and whispered vocals which soon take on a hesitant melody. Things build and suddenly break off quickly throughout as Wilson plays around with dynamics as he does so well. The arpeggio of the piano is quite appealing also in the last half. Significant Other - A nice, smooth track that has the feel of "Lazarus", heavenly and lovely, but still dark and foreboding at the same time.
This almost has an alt-metal feel to it. The beat is steady this time and has that Pink Floyd feel to it that we all love from SW. It does manage to get quite loud towards the end however as everything is pushed to the brink to suddenly break off to soft chimes. Only Child - A steady, straight ahead beat and a solid bass line support the vocals as guitar effects swirl around it all.
There is a somewhat noisy instrumental break and intensity is built up for the 3rd verse. Twilight Coda - Slow, peaceful, yet somewhat menacing short instrumental using mostly acoustics and lots of atmospheric effects. It's not until past the halfway mark before loud guitar chords and heavy percussion comes in, then it slowly crescendos into a noisy ending. Repeated piano chords and a nice vocal melody, however some soft guitar joins in later.
It's a nice coda to the album. As is the case with Porcupine Tree albums, this album also came in a limited edition which contained a 2nd CD with songs recorded in the same sessions but were left off the main album. There are 5 more tracks included on the second disc and 4 of these five were included on the vinyl edition as Side D. These tracks continue in the same vein as the rest of the album, but you can never get enough of a great thing, so you'll want to hunt down the extra tracks.
The stringed koto is worth the trip as it sounds really cool. The last track is untitled but is actually the b-side to the "Harmony Korine" single which is called "The 78". This is really a hard hitting album which fans of the latter Porcupine Tree albums will probably also love. It follows a lot of the same formulas as those albums with dark and dynamic songs which range from quiet and pensive to loud and heavy sometimes without warning.
I find it even darker and more brooding than those albums, but it still brings me the same satisfaction. I do miss some of the bright sections that keep the PT albums from being overly depressing however, and that tends to drive the overall rating down for me, but the album is still one that I play quite often anyway. I'm going to call things for what they are. This is a disaster. I'm pretty sure most people seem have some sort of respect towards Steven Wilson due to his early and undoubtedly good early records in bands such as Porcupine Tree, and with his first three solo records.
It's clear that he has a solid discography, but for me that's pretty much it. Some people go ahead and call him a god of prog, which is honestly comical. Average vocalist, average guitarist, the thing he was I repeat, was truly good at was composition.
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