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Siiilk biography
Founded in Lyon, France in 2010

SIIILK was born from the creative meeting of five musicians from the French city of Lyon: Gilbert GANDIL and Jacques ROMAN, from the band PULSAR, Richard PICK, Guillaume ANTONICELLI and Attilio TERLIZZI.

Jacques ROMAN and Gilbert GANDIL were co-founders of Pulsar, who released their debut album back in 1975 with their most recent coming out in 2007. Jacques was also the composer for all performances of Wladyslaw ZNORKO between 1989 and 1990. Richard PICK has been involved in several albums such as 'DIPHONIA' (1994) with Philip BARRAQUÉ and 'TANPURA TRIBUTE' (2004) with Thomas CLEMENTS and more recently with the band DÉJÀ VU. Guillaume ANTONICELLI has collaborated with artists such as Didier MALHERBE , Billy KILSON , Francesco BEARZATTI , Pierrejean GAUCHER , Claude SALMIERI Regis CECCARELLI , and Attilio Terlizzi has collaborated with musicians from different backgrounds such as Jean-Luc PONTY , Pierre- Jean GAUCHER and Flavio BOLTRO.

'WAY TO LHASSA' blends music and poetry, taking the listener from the lowlands of Flanders to the butresses of Himalaya, through India. These musical wanderings between childhood and adulthood are sublimed by the sounds of Mellotron, keyboards, drums and guitars while there is also brass, tampuras, flutes, Armenian duduk, Indian santur, choirs, and more.

In 2017 the band announced that they were now six, with the arrival of Catherine PICK. The band released their latest album, 'ENDLESS MYSTERY', and are playing a gig with GONG in October.

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SIIILK discography

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SIIILK top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.99 | 37 ratings
Way To Lhassa
3.86 | 99 ratings
Endless Mystery

SIIILK Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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SIIILK Reviews

Showing last 10 reviews only
 Endless Mystery by SIIILK album cover Studio Album, 2017
3.86 | 99 ratings

Endless Mystery
Siiilk Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Fans of atmospheric prog like DAVID GILMOUR, TONY PATTERSON, GIANCARLO ERRA, LAGARTIJA, EDISON'S CHILDREN, and NO-MAN (STEVEN WILSON) will love this album. It seems that each year there rises one album of pure prog ear candy, and, for me, this is this year's. Guitarists Richard Pick and Gilbert Gandil both have the intuitive, melodic, yet sophisticated, sixth sense as to when and how to play their parts--both leads and rhythm parts--masters of timing and the use of space. Uncredited background singer (though she has two leads, on "Merging" and "Green Boy") proves to be a tremendous asset wherever and whenever she is used, and drummer Attilio Terlizzi and bassist Guillaume Antonicelli are so smooth, so solid, and so polished at their craft that there is never a flaw in the foundational elements of the songs. And the compositional maturity as expressed in subtle and unexpected (yet expected, if you know what I mean) shifts and changes is extraordinary.

1. "Inner War" (5:54) opens with a soundscape strikingly similar to Giancarlo Erra's NOSOUND's LightDark album sound. I especially love the acoustic guitar work on this one--the last 90 seconds are awesome. (8/10)

2. "Endless Mystery" (5:41) a solid, steady Neo Prog song with an awesome guitar solo section in the middle. Several tracks of bluesy lead electric guitar, great acoustic guitar work (and recording!) with an amazing David Gilmour "Near the End" solo (you know the song I'm talking about?! One of the most emotional guitar solo songs ever made!) in the middle and then again at the end. (9/10)

3. "Black Old Train" (8:02) uneventful opening half; solid, even powerful instrumental mid-section. This lead guitarist has a gift that this listener has only heard in a handful of guitarists over history, Roye Buchanan, Jeff Beck, and David Gilmour being the old masters of said gift. The solos on this song offer but one chance for you to hear this gift. (9/10)

4. "Merging" (4:46) is an exceptionally well and subtly crafted song which serves as a vehicle for the extraordinary Sara Aliani (LAGARTIJA)-like voice of female singer, Catherine Pick. Haunting. (9.5/10)

5. "Escape" (4:42) another song that begins rather bucolically and then amps up after the first round of singing finishes. I love the subtle guitar work and hand drums, but it really never takes off. (8.5/10)

6. "Drifting Words" (5:30) interesting from the start, thanks to the ominous chords and background synth drone. The use of tablas is also very nice. No, it's brilliant; genius! At 1:30 Mellotron and awesome bass line and drums join in. Nice groove! The build up from here is also great. Love the alternating Mellotron "hits" behind the soloing electric guitar! A near-perfect song! (10/10)

7. "Questions" (4:42) puts on display the extraordinary instincts of both the guitarists, one strumming on acoustic and the other expressing effortlessly yet so-emotionally with the electric. Really nice piano work in support. (8.5/10)

8. "Green Boy" (8:14) acoustic guitar with awesome, haunting female vocals open this song. Total transition beginning at 1:35 to more eerie, atmospheric instrumental. Bird and walking-in-the-woods noises open as rolling bass line, synths, and sliding, delayed lead guitar play. At 3:35 fuzzed-out aggressive electric guitar strums announce a transition. This feels so much like a LUNATIC SOUL song--until the clarinet sound in the fifth minute. Piano, classical guitar, clarinet and occasional mellotron hit play over rhythmic Indian percussion track. Very moody; sad but beautiful. The final 1:30 takes us back into the woods--leaves and babeling brook noises--with intermittent synth play. Nice, surprising song. (9.5/10)

9. "Ultimate" (2:28) is a pretty, melancholy, very European sounding late night winding-down song featuring piano and harmonium, husband and wife, performing a duet. Perfect ending to this beautiful album. Beautiful song. (9.5/10)

If there is any weakness in the band's sound it is in the rather unexceptional, though solid, lead vocal performances by Richard Pick. Nothing flashy or technically remarkable, just another human voice (though not as human as the "voice from you and me" of Bob Dylan) singing his message to the world. If the instruments were as plain and ordinary as this voice, I would not be writing a review of the album. But this is not the case, as the instruments, composition, and arrangements create such a sublimely beautiful and emotionally compact portrait of the human experience that I beg everyone to seek it out.

A five star album; a masterpiece of progressive rock music and my early nod for Prog Ear Candy Album of the Year (succeeding last year's Equations of Meaning from Tony Patterson).

 Endless Mystery by SIIILK album cover Studio Album, 2017
3.86 | 99 ratings

Endless Mystery
Siiilk Crossover Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars

There are times when one comes across an album that is perfect in just so many ways that it is hard to quite know what to say about it, or how to describe it so as to give it justice, and that is what I am faced with right now. Siiilk are back with their second album, following on from the highly-rated debut 'Way To Lhassa' and I have no issue at all with saying that this is superior. It is a songs-based album, built around the vocals and acoustic guitar of Richard Pick, but what provides the depth is the quality of all the musicians involved and how they all know how to best utilise both space and dynamics.

It is a dreamy, reflective album, bringing together elements of Pink Floyd, Seventies Barclay James Harvest, Camel, Caravan, and so much more. This is music that takes the listener to a place that only exists between the ears, music to get lost in, music to be transported by. There are times when the full band are involved, (and they also bring a couple of guests to add some additional nuances with clarinet and Indian tablas), and it is the arrangements that make all the difference as often there will only be one or two others involved besides Richard, with everyone knowing their place and how their contribution reflects overall. Catherine Pick has a beautiful voice, sometimes taking the lead, but often providing sympathetic backing and the restraint and control demonstrated throughout the album is considerable. This is simply stunning and essential to anyone who enjoys this style of progressive rock.

 Way To Lhassa by SIIILK album cover Studio Album, 2012
3.99 | 37 ratings

Way To Lhassa
Siiilk Crossover Prog

Review by Neu!mann
Prog Reviewer

4 stars The first album released by the oddly-named Siiilk is as close to essential as any debut by a new group in recent memory. But of course the band isn't entirely new: their pedigree extends back to Prog's mid-'70's golden age, with roots in the symphonic space rock of PULSAR, last heard on the year 2007 reunion album "Memory Ashes".

That same rich Pulsar sound was updated for the new ensemble, built around the original core of Gilbert Gandil (guitar) and Jacques Roman (keyboards). The veteran duo is reinforced here by a sympathetic rhythm section, and a singer-songwriter (Richard Pick) whose winsome voice - singing in attractively accented English - perfectly complements the atmospheric flow of the music.

An obvious knee-jerk comparison can be made to post-"Animals" Pink Floyd, minus the one-note social misanthropy of Roger Waters and with a far more appealing melodic range. The tempos are relaxed, the mood is wistful, and the gorgeous arrangements were further enriched by some exotic instrumentation: French Horn, harmonium, bass clarinet, doudouk (an Armenian oboe), and the delicate soprano of Catherine Pick, matching the gentle cadence of her husband Richard's lead vocals.

But the anchor is Gandil's lead guitar, played as always in a style midway between Steve Hackett and David Gilmour, albeit with a romantic signature all his own (he is French, after all...) The songwriting is arguably too measured at times, rarely straying from the same chords and tuning. But the music itself is undeniably luscious, rising on occasion toward moments of genuine passion, as heard in Gandil's soaring guitar solo on "Leaving North", or the ecstatic climax to the title track.

All those extra letter "i's" in the band's moniker are a nuisance. But their first recorded effort begins at a point other groups would be happy to consider as a career peak, with the promise of even better music to come (a second album was just released at this writing: stay tuned...)

 Way To Lhassa by SIIILK album cover Studio Album, 2012
3.99 | 37 ratings

Way To Lhassa
Siiilk Crossover Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

4 stars Gilbert Gandil and Jacques Roman are two veteran proggers , the core of French legends Pulsar who have revived a long career with the delightful Memory Ashes in 2007 and now explore new horizons with this spectacular debut album. Together with Lyon musicians Guillaume Antonicelli on bass and drummer Attilio Terlizzi, they provide vocalist and songwriter Richard Pick some seasoned instrumental prowess and elegant letters of recommendation! Gandil remains a unique guitarist, a step behind the more famous Gilmours, Hacketts and Latimers, using a warm shimmering style. The stunning cover art by renowned French artist Kaviiik only heightens the pleasure, with depictions of Tibetan landscapes and Hindu goddesses, all swimming in a gorgeous turquoise/emerald sheen. The material is decidedly atmospheric, an elusive union of symphonic mellotron, flute and acoustic guitar, occasionally adorned by Gandil's purposeful lead electric soloing. Nothing heavy or harsh, the expansive compositions lend themselves to reflective introspection and profound imagery ,as the music takes the listener on a magical adventure from Europe to the Himalayas , on the 'Way to Lhassa", blending in a wide variety of ethnic instrumentation to add simmering spice to the orchestral brew. Because this is really a classical example of a sonic travelogue, there is a fair sense of continuity to each track, flowing from one impression to another rather seamlessly and as such, should be listened to as a whole.

"Childhood Memories" as the title implies, initiates the journey under the guise of a young mind dreaming of adventure, curiosity about our travelling universe in the most exotic fashion, a yearning "to be free". Vocalist Richard Pick has a mellow, slightly accented voice which never disturbs and the gentle instrumentation has a puerile feel to it, a perfect beginning.

"Between" is the longest piece here .clocking in at 6.43 and immediately shows off some sublime electric guitar phrasings from both Pick and Gandil, a dreamy, soft-rock composition highlighted by trembling and fragile vocals, a steady beat and the afore mentioned axe work. Jacques Roman fulfills the same in role as in Pulsar, a rich keyboard carpet, lush with simple symphonicity. "Cathy's Woods" is propelled by serene flute, acoustic guitar and dense mellotron scapes that hint at early pastoral King Crimson or even McDonald-Giles. Intensely melancholic and brooding, the journey just gets more personal and focused, showing undeniable prog tendencies. The choir segue "In the Grey Chapel" is a very brief vocal-only interlude that surprises by its simplicity.

"Leaving North" defines itself by a core folk song of utter escapist beauty, voice and acoustic guitar in complete agreement, with a sudden intrusion of a spooky electric guitar that sparkles in the rain. This is my fave tune here, a perfect microcosm of melancholia, drenched in saturated keyboards and shimmering guitars. Gilbert Gandil spurts brilliantly in his inimitable style, slow and gentle, very sentimental. This segues nicely into the terrific "Midlife Crisis", where the Gandil factor explodes through the speakers, a colossal bluesy 6- string rant that would provoke flattering admiration in both Gilmour and Latimer. Gurgling synths, cascades of voice effects give this a very modern Floydian feel, another winner on this stunning album.

"Khajuraho Dreams" is where one looks up towards the Himalayan crests in awe of Nature's immense power, a male-female vocal duet that stands out by its murmuring splendour, again adorned by rustling acoustic and electric guitar phrasings and Roman's ivory coloratura. Fascinating nugget, indeed!

The title track is the second longest feature at 6.37 and the ethnic instruments are given the front stage, glistening amid the oriental imagery, the bells, gongs and percussives, giving the piece an ethereal Tibetan feel. The arrangement veers into the progressive realm as soon as the bass and drums kick in, elevating the enjoyment with a sterling Gandil foray, luminous and grandiose. As the mountains demand of its visitors, there is a palpable sense of breathlessness that comes across vividly in the details.

"Witness" is definitely soporific and laid-back, gleaming in a swath of evocative ennui, as if wanting to elicit a sense of invincible fatigue. But this piece means to be a stylistic contrast to the hard edged finale, the sensational "Wladyslaw's Marching Band" , where the mood gets decidedly jittery with both Antonicelli and Terlizzi marshaling the beat, in agreement with rainy atmospherics, brooding rhythms and a light experimental touch, orchestral and ghost-like.

Siiilk is a delightful and frankly unexpected debut from a group of seasoned musicians, a strong Sunday afternoon-like sonic adventure. Nothing overtly complex yet never dull or senseless. The Pulsar duo surely provide a massive boost in terms of credentials but their playing is inspired and majestic.

4.5 Everest Avenues

Thanks to kev rowland for the artist addition. and to Quinino for the last updates

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