Angharad began to sing–a low whisper of exhaled breath that gathered force to become an inarticulate moan deep in her throat. The harp note pulsed quicker and the moan became a cry. The cry became a word, and the word a name: Rhi Bran. Bran hear it and the small hairs on his arms stood up. Again and again, Angharad invoked the name and Bran felt his heart quicken. Rhi Bran. King Raven–his own name, and his rightful title–but cast in a newer, fiercer, almost frightening light.

The world Angharad sang into being was the Elder World, the realm of princely warriors and their noble lovers. She sang of long-forgotten heroes, kings and conquerors; of warrior queens and ladies of such beauty that nations rose and fell at the fleeting glance of a limpid eye; of dangerous deeds and queer enchantments; of men and women of ancient renown at whose names the heart rose and blood raced faster.

One for the Great King on his throne so white,
Two for the Son the king begat.
Three for the Errant Goose both swift and wild.
Four for Pangur Ban the cat.

Five for the Martyrs undefiled.
Aye, five for the Martyrs undefiled.

Six for Virgins who watch and wait
Seven for the Bards in halls of oak.
Eight for the patches on Padraig’s cloak.
Nine for the lepers at the gate.

Ten for the rays of Love’s pure light –
Aye, ten for the rays of Love’s pure light.

Excerpts from the book, Hood - Book 1 of The King Raven Trilogy
By Stephen R. Lawhead ©2005
WestBow Publishing.  Used with permission.

King Raven is modern Celtic music at its best. With four tracks in all, “The Flight of Rhi Bran,” “Elder World,” “Power of Heaven,” and “Fire Song,” it hails back to the ambient style Johnson & Dunning mastered in the Songs from Albion series. Once again, Jeff and Brian draw their inspiration from author Stephen R. Lawhead and his new book, Hood, purportedly a paradigm-busting look at the life of Robin Hood.

This literary “soundtrack,” if you will, provides over 20 minutes of sometimes meditative, sometimes energetic—but always otherworldly music—including the keyboard, bass, viola, bodhran, and Irishman Dunning’s expert handling of the whistles and flute.

– Kevin M. Williams/Renaissance Magazine (May 2007)