Wolf Arrow Rain’s latest single, The Raven, is a deeply immersive journey into myth, personal transformation, and the darker corners of human experience. As the opening track of the upcoming concept album The Arrow of Time, the song sets the stage for a record that explores rites of passage and the shifting seasons of life. With its eerie atmospheres, poetic lyricism, and a cinematic sense of storytelling, The Raven is as much a reflection on personal healing as it is a dive into the archetypal trickster mythology.
In this interview, Wolf Arrow Rain delves into the origins of The Raven, the influence of folklore and psychology on their songwriting, and the creative process behind both the track and its visually striking music video. We also take a closer look at how the album’s themes unfold and how the artist plans to bring this rich conceptual world to life on stage.
Read on for our in-depth review of The Raven, followed by an exclusive interview with Wolf Arrow Rain, where we uncover the layers of meaning behind this enigmatic track. This is a paid promotion with 'Wolf Arrow Rain'
TRACK REVIEW
Wolf Arrow Rain’s The Raven is an eerie, hypnotic journey that unfolds like a whispered tale passed down through time. The haunting bassline sets a brooding foundation, drawing listeners into a world of mystery and myth. From the very first lyric—*“In the void begins the tale”—the track grips you, weaving an atmosphere that feels both ancient and timeless.
Lyrically, The Raven is captivating, carrying a depth that lingers long after the song fades. The storytelling, rich with folklore and introspection, transports you to another realm—one where the trickster archetype takes flight, guiding the listener through dark yet strangely familiar territory.
Musically, there’s a rhythmic swing that feels like a forgotten gypsy waltz, each melody wrapping around the next in perfect unison. The interplay of layered vocals, atmospheric instrumentation, and that ever-present sense of movement make The Raven a track that doesn’t just play—it haunts, mesmerises, and enchants. Wolf Arrow Rain has crafted something truly special here: a song that feels like a rediscovered relic, yet one that speaks profoundly to the present.
“The Raven” serves as the opening track of your upcoming concept album, The Arrow of Time. Can you elaborate on how this song sets the stage for the themes explored throughout the album?
The Arrow of Time examines themes about Rites of Passage and Seasons. Although it is a deeply personal album, I feel that others can relate to it through the use of well-known archetypes and the loose blending of mythological characters.
Each track represents a different ‘season’ of my life or a rite of passage. I decided to open the album with The Raven because of the mythological origin stories involving Raven, the Trickster. The Trickster archetype has always been something of particular interest to me in the sense that this archetype often has an ‘accidental’ way of helping people in a backwards type of fashion.
The poem at the beginning of “The Raven” introduces listeners to a mythological journey. What inspired this poetic introduction, and how does it intertwine with the song’s narrative?
There is a story from the First Nations people, the Tlingit (Pacific Northwest Coast of America), where Raven steals the sun, moon, and stars from someone called OLD MAN. As a result, the Raven brings light into the world.
He initially did it because he wanted to see himself with more light, but also because he wanted to be seen and admired by others. To cut a long story short, the result of his theft led to the illumination of planet Earth and improved conditions for all—something good that happened by accident.
There is also a concept in Lakota mythology which speaks of an archetype called the Sacred Clown. I have read a lot of tales incorporating these themes but don’t want to elaborate on my own interpretations too much in case I misrepresent these ideas. The basic characteristics of a Sacred Clown, as I understand them, include contrary humour, satire, and achieving positive outcomes in unexpected ways. Tricksters are not always trustworthy in these stories, but there are always two sides to every coin. In the case of Raven as a Creator being, he was ultimately very helpful.
The Raven is often depicted as a trickster in various mythologies. How does this archetype resonate with you personally, and in what ways does it reflect in your music?
I have integrated some of my own personal stories with these Sacred Clown themes in The Raven as a way of processing encounters with real-life people who carry these traits. It has been part of a healing journey for me.
Modern psychology is beginning to explore fairy tales and First Nations archetypes as a means of understanding different personality types in human society. There is a lot of wisdom in these pathways, and I love exploring them through my music, art, and spirituality. I hope my listeners find something meaningful in it.
I have created my own deck of tarot cards and work as a clairvoyant. One day, when I finally finish the artwork for this deck, I would like to re-release the album and intertwine it with the publishing of the cards.
There’s so much more I could say about Raven stories and their influence on this track, but I’ll leave it here by urging folks to go and read about them for themselves.
Transitioning from “Cherry Blossoms” to “The Raven,” how has your musical style or thematic focus evolved between these singles?
“Cherry Blossoms” is completely different from The Raven in terms of its light and dark elements.
When Cherry Blossoms was released, I was caring for my beloved hound, Ushki—a Siberian Husky cross whom I loved like a child. When she was diagnosed with terminal cancer, I dropped everything to care for her, and we moved to the Dandenong Ranges. We spent her final years playing in the forests there, and instead of the three months she was given, she lived another four and a half years. She passed away in 2024 at 16.5 years old.
The artwork and visuals in the Cherry Blossoms video are reflections of my love for her and the time we spent together. The song is about learning to stay in the moment—even when it’s raw, beautiful, and painful all at once.
On the other hand, The Raven comes from a much darker time. The video was filmed years ago after the end of a relationship with a narcissistic person who deeply affected me. The vibe was closer to Samhain (the Irish Day of the Dead), and it was cathartic to finally release the song and let The Raven fly.
The concept of “rites of passage” is central to your upcoming album. Are there specific personal experiences or stories that have significantly shaped the songwriting on this record?
Yes, every song on the album reflects a period of my life. Some tracks combine multiple experiences because life lessons tend to repeat themselves.
If I separate myself from my personal stories, I find there’s always a greater narrative at play. For example, one could relate different points in life to The Fool’s Journey in tarot. We all go through milestones like first love, midlife crises, birth, and death—universal rites of passage.
These observations have become more important to me with age. I now see patterns in archetypes, seasons, and mythological structures. My worldview has always been witchy, and I’ve leaned fully into that.
The album originally had eight tracks, reflecting the eight seasons in the Celtic calendar, but since moving from Tasmania (Lutruwita) to Melbourne (Naarm), I’ve adjusted to the seven seasons here. Now the album has seven tracks—one for each season.
Filming the music video for “The Raven” in Richmond Cemetery, Tasmania, adds a unique atmosphere. What drew you to this location, and how did it influence the video’s creative direction?
My friend Brendan Kays, a historian and former bandmate, took me there one day on an adventure. Richmond stayed in my mind for years because of its historic, old-world vibe.
When I was studying film, I was drawn to early cinema—Charlie Chaplin, Nosferatu, German expressionism. I wanted something with that aesthetic, and Richmond fit perfectly.
Collaborating with filmmaker Phoenix Rain for the music video must have been an artistic endeavour. How did this partnership come about, and what was the collaborative process like?
Phoenix Rain is my son. He is an incredible artist—his main focus is film and photography, but he also composes music and won an award for a soundtrack last year.
We started collaborating when he was 17, and I was 38. He has worked on Cherry Blossoms, The Raven, and The Black Rose, which will be on the album. We are currently working on another video for Soul Return.
Phoenix is naturally talented, with an incredible artistic eye. He is spontaneous, raw, and loves pushing boundaries. His passion for the horror genre influences our work. He even introduced me to Citizen Kane and Dr. Caligari.
How has collaborating with a four-piece band influenced the sound and direction of The Arrow of Time?
I write all the songs and bring in musicians to play the parts I hear in my head. My longtime cellist, Magnus Turner, helps me translate my ideas into proper notation.
We’ve had many musicians come and go, and some of them feature on the album. Our new bassist, Byron Siren, brings a punky, new-wave energy. We also have a session drummer, but we’re still looking for the right permanent drummer.
How do you plan to translate the album’s rich, thematic elements into your live performances?
At The Raven’s single launch, we had a dancer with silk fans and swords, which was amazing.
I’d love to incorporate shadow puppetry, costuming, and projectors in the future, but right now, our budget is small.
Looking ahead, what do you hope listeners take away from The Arrow of Time?
I hope the album finds people when they need it—during a rite of passage.
I want listeners to experience it fully, whether lying on their backs watching the clouds or driving through the desert.
This album has taken nearly a decade to complete, and I’ve lost it all to hard drive crashes multiple times. But I kept going.
I hope it brings perspective and comfort.
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