Hard, dark edged, Alternative Loud Rock with provocative sex themes, biting social Commentary, and Bukowski-esk stories of excess and debauchery from an innovator of Post Punk Bruce (Ravens) Moreland. Moreland who co founded the eighties original Post Punk Band Wall Of Voodoo at age 16 with brother Guitarist Marc Moreland, Bruce (Ravens) also wrote songs with Johnette Napolitano for Concrete Blonde , He Played for Nervous Gender , played bass with Brian James (Damned) and Stiv Bators (Dead Boys, Lords Of The New Church), He Teamed up with L.Ron Jeremy of 45 Grave , Steve Chaos and DeDe of Total Chaos as well as Jarrod Alexander of the Vandals, Dead Sara, Death By Stereo. Working primarily with producer David Bianco (Ozzie Osbourne, Dead Can Dance, Danzig, Damned) for the Ravens Moreland Recordings , Moreland Played Bass Guitar , Guitar, Keyboards and all Vocals along with the fore mentioned musicians who play on selected tracks. Moreland’s powerful vocal style reminds one of Jim Morrison, Iggy Pop and Lux Interior and a Little Lou Reed , the music might be a kin to something like Killing Joke meets Danzig, with the Wall Of Voodoo roots apparent . Ravens Moreland first album Lock Up your Mothers was released via Ravens Records on CDBaby and at long last the second record, also with the same connections ‘Sin Has A Soundtrack” , cdbaby and already for download on http://myspace.com/ravensmoreland.
Also at ravensmoreland.com .
HERE IS A REVIEW FROM THE UK
According to the press release, Ravens Moreland was a founder-member of Wall Of Voodoo back in ye olden days, which I suppose gets him a few credibility points right off the bat (alas, the press release also manages to spell Ozzy Osbourne's name incorrectly, for which points will be deducted). After a lengthy career featuring many connections and collaborations with the great and the good of the punk-and-after mileu, Ravens Moreland embarked upon a solo career, and this six-tracker is his second solo release. Well, that's the story so far - but what about the music?
This about the music: it's a steaming soup of roiling guitar and rolling rhythms, a down-home gumbo of gravelly, fuzzed-out bump 'n' grind, the kind of stuff ZZ Top might come up with if you took 'em out to the swamp at midnight, stole their car, and made them wade home through the muck and mire. 'Gone Home To Hell' - a title which in itself tells you everything you need to know about Ravens Moreland's musical area - is a low-down no-good hobo of a song, striding along on its down-at-heel boots, kicking up dust and making a fuss. 'Franky' is an after-closing-time punker blues, upon which Ravens Moreland relates a cautionary tale in his horrorstruck holler. '169' puts a death valley organ into the firing line, as the song powers along like Hell's Angels are on its tail. Never less than down and dirty, this stuff slithers like a sidewinder, and the guitars are always slung as low as they can go.
Somewhere between the Lords Of Altamont's biker-garage anthems, and the dragster-obsessed conceptual guitar mangling of Big Stick, you'll find Ravens Moreland, swigging his whiskey and keeping a foot firmly planted on the fuzz pedal. It's music so grubby you'll need to take a shower after listening, but you know what? Grubby is good.