NULA JEDAN

I mentioned in my review of "Weila" that THORK was a side project of the Maurin brothers(NIL). Well apparently this has become Sebastien Fillion's baby, as only Samuel Maurin is left and he only plays bass on two tracks. Sebastien meanwhile has added guitar, bass, low and tin whistles, glockenspiel and vocals to his usual role of synths and piano player. Each THORK album has been different, the first more in the Folk vein, while "Weila" was dark and experimental with gothic and classical themes. I really think the band has found their sound with this album. It's modern sounding, dark, mid-paced and very full sounding. The music is so lush, and unlike "Weila" the vocals don't stand out but simply add another layer to the sound.

"Ex-Slave" is a perfect example of that modern sound I was talking about. This might be the best song they have done so far. Percussion is joined by an atmospheric guitar melody as haunting synths arrive. Vocals and bass before a minute.There is this powerful undercurrent throughout. The tempo picks up. Incredible sound. Dark, atmospheric and heavy. Love the guitar solo 3 minutes in. Violin follows. Vocals continue from Sebastien with help from Violette Corroyer. She really adds a lot. Violin and keys 5 minutes in. Acoustic guitar sounds great as well.They contrast beautifully the lighter passages with the heavier ones the rest of the way. Listen to the intricate drumming. Fantastic tune ! "Ici" opens with some raw sounding guitar before the heavy beat comes in. It lightens as vocals arrive. The heavy and light are contrasted throughout. This is catchy. The beat stops 3 1/2 minutes in briefly as it becomes dark and atmospheric. More raw guitar with background synths this time. Nice. "La Lumiere" is very atmospheric as the percussion beats and the guitar grinds away slowly. Vocals replace guitar a minute in. The guitar comes back but it's faint. The sound starts to build as instruments are added. Female vocal melodies before it becomes pastoral again. The guitar is back 6 minutes in grinding away. Percussion to end it.

"J'Aurais Pu" is dark with processed vocals. It's rather slow moving. It becomes more powerful and uplifting after 3 minutes. Great second half. "Danse Des Airs" is my second favourite song after "Ex- Slave". The synths sort of swirl around as drums and a full sound comes in. The guitar makes it's presence known as the soundscape becomes heavier. It suddenly becomes very atmospheric with faint vocals and no melody. The guitar makes some noise before the melody returns. The bass is prominant 4 minutes in. Piano follows as it gets quite emotional. "Au Ciel" opens with a guitar melody as fragile vocals come in.This is such a moving track. Violin after 2 minutes as we also get some guest trombone, trumpet and flugelhorn on this track. "Revoir" sounds great with the bass, drums and synths leading the way. Vocals a minute in. This is a great tune to drift away in. "01" opens with piano, bass and then vocals. It kicks in around 3 minutes to a full sound. Heavy. The guest horn players are back for this one. Violin 4 1/2 minutes in. The song calms down with piano to end it. "Ces Reves-La" is a very cool song with percussion, acoustic guitar and processed vocals. Something uplifting about this one.

I have to go back and re-listen to "Weila" to see if I really do like this one better.They are very different from one another so it boils down to taste I suppose. Both are must haves.

Let the nostalgia begin ;) I mean in each review I'm telling a story of my introduction into certain band's music, and this is no exception. I was involved into THORK through ''We Ila'' last spring, and it was one of the most amazing albums from Modern Prog I ever heard! Dark, epic, heavy, mystic, complex but melodic - even French singing didn't put me off as usual! :) This year I caught an opportunity to review fresh THORK album entitled ''Nula Jedan''. And on my first listening I was disappointed.

Gone were all the receipts of ''We Ila''. No darkness, no heaviness, no complexity (though melodies were even more catchier). Is this really that THORK from France I use to know? But then I just remembered the old truth that what is too conservative may be regarded as STAGNANT, so I gave it another spin. And then another one. And one more!

OK, fans of previous DARK works - beware. ''Nula Jedan'' is soft, light, balanced and even catchy. It's just DIFFERENT. There's no need in comparison or seeking for related hooks. New THORK is more meditative and accessible, but I wouldn't say less INTERESTING or PROGRESSIVE. It's just like when you put PORCUPINE TREE after DREAM THEATER, that's it - the same high level but different musical thinking. The only thing left untouched is ATTITUDE - ''Nula Jedan'' is the same way professionally created, played and recorded. Recommended, but don't be fast with conclusions - listen to it attentively and don't compare to anything. Wonderful Modern Prog!

An astounding, amazing release from this French outfit. A big, positive musical surprise of the kind that really deserves recognition.

It's probably not a good release for a novice listener though. There's just so much happening here. The pace is mostly on the slower side, but everchanging and ever evolving compositions will make it a taxing experience for many; and French lyrics may alienate a few as well.

But the delightful sonic landscapes here, careful piano melodies, sometimes soaring and sometimes floating synths in the back, acoustic guitar patterns - all mixed in a package where elements are added and subtracted; themes explored in many variations. Always with a melancholic feel, always with a distinct focus on the atmospheric environment even in the most complex multilayered segments. To add folk music influences is just as natural and belonging as the psychedelic touches; jazz-tinged bass lines fits like a glove too; soaring violin soloing, fragile flute themes and soul-tinged horns all seems like natural additions as well.

Highly recommended release this one; in particular for those enjoying complex, melodic rock with symphonic, folk and jazz touches in a mostly mellow setting.

An album from the French mood-masters who created the band NIL, the leadership of the brothers MAURIN (one of which has by this album left the project) have given way to that of Sebastien FILLION (with the help of brother/cellist Arnaud) to produce this enigmatic collection of hard-to-describe songs. The music is modern, perhaps "ahead of its time" in its odd, sometimes ethereal, sometimes jazzy sounds and passages. It can thus be said with some confidence that this is truly progressive rock music as its songs take the listener to places and in directions that you have likely never travelled before. While listening through this album I find myself reminded at times of DEAD CAN DANCE, FIELDS OF THE NEPHILIM, AKT, STING, LUNATIC SOUL, STEVE JANSEN and, of course, NIL.

Favorite songs: 1. "Ex-Slaves" (12:51) (10/10); 3. "La lumière" (9:12) (10/10); 5. "Danse des airs" (6:25) (9/10); 7. "Revoir" (7:55) (9/10); 9. "Ces rêves-là" (4:24) (8/10); 8. "01" (8:15) (8/10), and; 6. "Au ciel" (7:12) (8/10).

4.5 stars. A refreshingly original musical journey.

While French prog has garnered a somewhat deserved reputation for theatricality via melodramatic vocals, the adjective that comes to mind when listening to this third release of THORK is brooding. The pieces are mostly over 7 minutes long and slow to mid paced, with an emphasis on the mood conjured by succinct, rarely soloing but frequently reverberated guitars, blended vocals, atmospheric or hypnotic keyboards, creative percussion and occasional strings and winds. Most of these diverse sounds are from the hand and mouth of leader Sébastien Fillion, but he has the audacity to pull it off without sounding like a solo project, perhaps due to the evolving history of the band.

While billed as and influenced by progressive folk, THORK proposes a plodding and heavily symphonic sound with robust folk roots that vacillate between Celtic and Middle Eastern in flavor. Given the track durations, I find the pace lumbers along a bit too much for the step dancing blood that apparently courses in my veins, but the sound itself is exemplary, and my personal favourites are the paradoxically folkier and harder edged "Ici" and the genre busting "Au Ciel" with its swirling dervish joie de vivre. Recommended particularly to those who revel in the alchemies of prog rock. 3.5 stars rounded up for originality.