He’s there every single day. “The record was made with a lot of passion and commitment, and a great sense of joy, too," he says. Wilson produced and mixed the album, but as he was operating as something of a "musical director" for the band, he knew he needed an ace engineer. Because of the expansive song length that has become a hallmark of much of his work, particularly as the singer, guitarist and frontman of Porcupine Tree, along with his celebrated remasters of albums by King Crimson and Emerson, Lake & Palmer, Wilson has often been called a "progressive" artist – a term he is not entirely comfortable with. I think it would be hard for anyone to write about mortality without it being, to some degree, personal. “With this band, I’ve been able to concentrate more on being a singer. In the studio, we did four or five takes, and each time Guthrie would reinvent the idea of what the solo could be. "He’s made fantastic records with The Beatles and on his own, and he recorded what is, for many people, the best-sounding record that has ever been made, which is Dark Side Of The Moon. Guthrie was having a great time playing these notes, because he felt that it was the right thing for this piece of music. We did the most takes of this song than any other. It went down incredibly quickly, and it was an opportunity to test the whole scenario, the idea of doing it live with Alan recording. “Musically, the beginning section is very much inspired by the way Genesis used acoustic guitars early in their career. It was so inspired and had such a beautiful sense of logic and storytelling to it. “He’s also an alcoholic, by the way – the typical scenario. Sometimes that feeling of comfort can be a real drug. This is not autobiographical; it’s fiction in that respect. I'm so glad that I was able to do this album with him. “I like the idea of intertwining harmony vocals, two or three lines that work in a counterpunctual way. I turned to him with this song and said, ‘Are you OK with this? The thing is, his sister would sing to him whenever he was afraid or insecure, and it was a calming influence on him. She’s dead, she’s been thrown in the river by the husband, and she’s floating down in the river while singing this song – from beyond death, beyond the grave, as it were. It doesn’t matter what the weather is like; he’s always there, playing his acoustic guitar and singing these songs. “It was scary yet fun," Wilson enthuses. It’s the one thing that all human beings have in common. What’s special about being to say ‘I love you,’ but in a new way… it’s so hard to do that. The sound of a pin dropping on a floor can be the thing that instigates the fury. People think it’s a guitar, but it’s a Fender Rhodes put through a distorted amp. “One of the things about my lyrics is, I try to be simple. I’m a big fan of Leslies. The Raven That Refused to Sing (And Other Stories) is the third solo album by British musician Steven Wilson, released by Kscope Music Records on 25 February 2013. That, for me, is the memory of this song. That’s the story behind Luminol. In the past, there haven’t been a lot of opportunities for me to explore that. I want to dynamite your mind with love tonight. “Going into the studio with Luminol was a good was to ease us into the recording process. You can pre-order The Raven That Refused To Sing (And Other Stories) at StevenWilsonHQ.com. He’ll tell you that your life sucks and that you’re bad, that you have all these vices, and meanwhile he has plenty of his own. It’s a sad, very beautiful song about loss. In my solo work, however, I’ve backed off heavy guitar stuff, which has opened up all of this space for things like keyboards and woodwinds but also this big, upfront lead bass sound. The manner in which Wilson recorded The Raven That Refused To Sing differed dramatically from his previous solo efforts (2008's Insurgentes and 2011's Grace For Drowning) in that he cut tracks live in their entirety with his recent touring band (Marco Minnemann, drums; Nick Beggs, bass; Adam Holzman, keyboards; and Theo Travis, flute, saxes and clarinet; guitarist Guthrie Govan, who played in the studio, is a new recruit). “There were some things that changed in the recording, but we didn’t really change it too much from the way we played it live. I was thinking the overwhelming sense of sadness the video exudes might somehow be related to Wilson's mindset when he wrote the song. There was a problem. “One day, he’s in a bar and he challenges the stranger next to him to a drinking competition – without realizing that this person is the Devil. But I think I’ve gotten better at it.". Original lyrics of The Raven That Refused To Sing song by Steven Wilson. They love it! Repeated listenings reveal new subtleties and meanings. There is a strong, exciting opening part and then the song section in the middle, and then there’s the big Mellotron part straight after. This time we fed it through a Leslie cabinet. I could go and write some silly, complicated shit, but the hardest thing is to hit somebody’s heart and soul. There’s kind of a bass solo on this song, but it’s one that I wrote out and planned meticulously. It’s one take, unedited, and it’s just unbelievably brilliant. This is the story of the watchmaker, the guy who is meticulous about his craft, but he never has any kind of emotional outburst, nor does he express violence or any extreme emotions whatsoever. For a start, the old man in the story is called Elijah, and the Biblical Elijah is fed by ravens after being driven out into the wilderness. Watch official video, print or download text in PDF. "At the same time, it’s hard to get it right, because the minute you throw away the rulebook on how you structure a song, you risk falling flat on your face, which I’ve probably done over the years with some of my long pieces. ", Songs were tracked in three or four takes, and while everything from amps to keyboards to EQs was analog, the final data capture was digital, which Wilson says afforded him enormous liberties for editing.
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