NINE SKIES

It is always a difficult decision as to whether to maintain a band when a key person leaves or sadly passes away, and I am sure there were many discussions as to what to do when multi-instrumentalist Eric Bouillette passed away way too young. He was also the most high-profile member, having been involved with multiple other bands as well, but it is nice to be able to report that Nine Skies have not only kept going but have returned with a very enjoyable album indeed. It is a concept, telling the story of Rudy who is living his 1001st and final life and is retracing some of his existences through different characters and he reflects on these.

They have dispensed with saxophones, so Laurent Benhamou is no longer with the band, but the rest of Nine Skies are the same as on '5.20'. They have again used guests, but this time around they have used multiple singers, and since the recording have brought in a new lead vocalist themselves in Charlie Bramad (who here provides lead on "The Haunted"). There is less instrumentation and diversity than previously, and now we often have keyboards providing a backdrop for other instruments to rest against. This has actually given the band a new lease of life and their guitars are more to the fore, moving even more deeply into neo-prog. The highlight for me is "The Dreamer", featuring Martin Wilson on vocals. Martin is of course a founder of The Room, which at one time included Eric, but I remember seeing him many times back in the Nineties fronting Grey Lady Down and here the band take a back seat and allow his emotional vocals to take centre stage, quite reminiscent of Credo. The guitar is plaintive and just right, providing the cut through.

I do hope this album gives the band enough confidence to record the next one without any guests as I would really like to hear them fully on their own, as I have no doubt there is no need for the additional help and with a new lead singer and a tour booked let us hope that is indeed the case. Even with everything the band has been going through, this is their fourth album in just six years and long may that work ethic continue. This is a very slick and well-produced neo prog album, given life with some wonderful fretless bass, keyboards providing the supporting role, complex drum patterns, guitars cutting through and vocals which are always to the fore. For those who think "neo" is a lesser form of prog need to listen to this and enjoy.

If you are at all like me, you will feel a special anticipation from the first moments that The Lightmaker unfolds before your ears. You are taken by the hand and guided through a majestic journey of a lifetime as nine different voices share their experience and lessons with you, though they are actually the same person: Rudy, who has lived 1000 different lives, and is now on his 1001st and last. What has he learned? What will he share?

The kinds of profound emotions and musical scenery is, as you can imagine- vast, varied and heartfelt. The several different lead singers and indeed each member of the band have reached deep into their souls as this album marks an important turning point for Nine Skies. It's the first album created since the untimely departure of Eric Bouillette. He was a pillar in the band- doing songwriting and performing guitars, piano, keyboards and violin, but the remaining members are bravely forging ahead. If he is able to hear the results in the hereafter where he may reside, I'm convinced he is delighted with the results.

As a big Yes and Steve Hackett fan, plus Opeth, I felt right at home with this album. The Alan Parsons Project-style of featuring different vocalists was a brilliant move and contributes to the album's profound narrative. There's plenty of excellent musicianship here as well. Bass guitar-wise there's some lovely fretless work as well as a 3 string chord/fingerstyle bass solos like on The Wanderer. Guitar-wise there is are plenty of acoustic steel-sting passages featuring soothing and beautiful chord parterns and progressions, as well as tons of tasteful electric guitar sections and some great, and occasionally epic solos. The keyboards and synths feature prominently as well, layered throughout including a remarkable and iconic solo in Chaotic. The drums also fit so well into all of the songs- as everything does, in this gorgeous and well-mixed album.

It is at once epic and modest, and I predict this album will find its way into the hearts of many fans of the progressive rock genre. It's a new high water mark for prog in 2023.

Nine Skies came together little by little; rock, pop, progressive, jazz, neo-prog on Marillion and an orientation for a clean, singular musical community; This 4th album with the story of Rudy living his 1001st last life, his experiences and reflections on the human condition; the idea of giving voice to a different singer; choice which poses the problem of the very essence of the group

'An Fanai (Intro)' says it all, guitar arpeggio on an icy wind, symphonic approach. 'The Explorer' with Riccardo des Ranestrane excels on vocals; a basic riff taking the listener on the wrong foot on a two-tone title, mixing melody and progressive development with Eric's dry guitar. 'The Dreamer' Martin on vocals, you have to get used to different voices; soft, symphonic, digression with Alexandre's melancholy solo; voice-over break before the melodic piano reprise; like the surf of a wave crashing against the bank; a sound reminiscent of many neo groups from the 90s with a superb guitar solo. 'The Chaotic' compulsive explosion the album begins; from a jumbled monolithic sound we arrive at today's prog as I see it; aggressive drums, drawer breaks; Arnaud assisted by Laura having played on 'Imaginaerium' in voice-over; a sublime break from Adam the keyboard of Sir Wilson comes setting fire; its sharp, chaotic sound in which you never get bored; I find Zio's creative madness there with one last good guitar solo.

'The Lost' Tibetan gong, vocals by Kristoffer over a guitar arpeggio; a dark, rocky melody; the voice is suddenly warm with a heavy dark rise, a good point which makes me feel like I'm listening to another group; finale to the grandiloquent Devin Townsend.'The Wanderer (Interlude)' that's all said here too; bass and choir of 50 members for a celestial interlude where the angels remain entangled. 'The Haunted' with Charlie de Zio for a melodic track drawing on Arena interweaving with modern prog like Pendragon second version; expressive solo break connecting the atmosphere a little before a second Genesisian and the crystalline guitar arpeggio; final ethereal piano narrative. 'The Architect' with this ultra-low vibration bringing the guitar arpeggio, we feel Alexandre's touch; Achrah the official singer finally asks himself, why didn't he provide all the voices? Captivating melodic title, the high voice reminding me of Michael from Saga; oriental, Andalusian variation, superb in any case and a purely symphonic prog metal title; the singular phrasing break then a well-calibrated heavy riff, Marco Minnemann's hit, delicate synth notes; a second sinister break introduces an instrumental section with John Mitchell launching a perfect solo.

Nine Skies chose a multitude of singers, which makes prog rock burst with the succession of voices and musical themes.

A collection of six uniquely individual full-length songs and two short instrumental expressions, all expressly (and quite skillfully) composed with the intention of representing several archetypical roles or conditions common to the human experience.

1. "An Fanai (Intro)" (2:46) wind noises. Weave of picked acoustic guitar and glockenspiel-like instrument slowly fade in to take over. Nicely melodic yet interestingly discordant at key moments. Fades out on the other side of the pan (right). (4.5/5)

2. "The Explorer" (6:13) opens like a sensitive SATELLITE song with church organ and sensitive male voice singing before the full band bursts into a complex weave of full progginess. At 1:30 all bombast ebbs away leaving delicate piano, synth wash, and eery female vocal "swipes" while Riccardo Romano continues singing in his perfect voice. At 2:30 Riccardo amps up his voice: a very smooth and effective (and kind Peter Gabriel-like) transition. At 3:15 the full band jumps back in for a bit but then disappear for some guitar and strings behind Riccardo's delicate, plaintive voice. At 4:28 an instrumental shift occurs into a more rhythmically-diverse motif while Riccardo also adapts before jumping into full voice with the band's re-amping in the beginning of the sixth minute. This is a very polarized song, dynamically, but, for some reason, it works. I think Riccardo's skill and proficiency is the key to that. A very well composed and realized song that reminds me of the passionate story of Breton's SEVEN REIZH's four-part rock opera about the magical stonecutter Enora in the land of Ys. My second favorite song on the album. (9/10)

3. "The Dreamer" (8:01) Very beautiful music with all instruments on ultra-delicate mode as raspy-voiced Martin Wilson sings his impassioned story. Nice guitar solo at the three minute mark before things dial down for a spoken word passage. Delicate weave returns for another verse of Dreamer Martin's story. Unfortunately, Martin's impressive edge is lost a bit in the chorus. Another nice lead guitar solo--this one better than the first--in the seventh minute. This actually plays out to the finish. Nice. My favorite song on the album. (14/15)

4. "The Chaotic" (7:21) a little more aggressive, but still quite bombastic music within which doubled up muted voices of two (or more) male voices semi-rap. Then regal stage-acting vocal performance (Laura Piazzai?) fills the third minute before the band returns to filling the sonic field with aggression as the muted men discordantly chant about "ego," "action," "fear," "intrusion" and the like. At 4:19 we tone things down for a sequenced synth track over which pitch- bending synth solos (Adam Holzman?) for a full two minutes--even while the music is ramping back up beneath him in the second minute. Angular chords and rapid fire guitar notes begin the arduous journey of taking us out of the synth world at 6:23 gradually emerging into a full on guitar-fest of hard rock 'n' roll to the finish. A weird and difficult-to- like/enjoy song--though I do appreciate the creativity involved with its conceptualization as well as the extraordinary skills necessary to pull it off. (13/15)

5. "The Lost" (9:19) Singing in a passionate raspy voice as Kristoffer Gildenlow does while riding exclusively over some fairly nondescript Spanish guitar play for almost three minutes is a tough call--especially when you're trying to please the ears & brain of someone like me who doesn't hear words/messages of the lyrics except in terms as another instrument in the mix. In fact, it's not until the seven-minute mark that the band fully commits to a full-metal jacket for the musical style being presented here--and even then the resultant effect is questionable at best. (The loud flange effect in the final minute may, in fact, be the best thing about this song.) (16.875/20)

6. "The Wanderer (Interlude)" (2:00) interesting choice of bass sounds to use within these eerie space-voices and their ghostly vocalise. (4.25/5)

7. "The Haunted" (11:32) Nice relaxed pastoral sound palette for the opening of this, with lots of time given to establishing several of the instrumental hooks, but then things switch completely into solo acoustic guitar picking to back the arrival of singer Charlie Bramald's Geoff Tate/Peter Gabriel voice. Some interesting motifs are inserted here and there giving the music a theatric suite-like feel. Unfortunately, the lyrics really do little to draw me in--do not seem deserving of the Peter GABRIEL/DOROCCUS (Babylon)-like delivery. And the rhythmic patterning of the song is a bit too constant and wavy for me--I find it annoying from the start but then to hear it maintained (even in delicate solo "classical" guitar-like passages) is almost cloying. At 8:45, after the last of these acoustic guitar solo motifs, a spacey atmospheric soundscape is established over which Charlie reads a long poetic passage about how and why he doesn't panic in the face of chaos and stress. This, unfortunately, is, for me, the best part of the song. (17.25/20)

8. "The Architect" (11:32) wonderfully delicate instrumental mix--almost jazzy--beneath Achraf El Asraoui's remarkably nuanced and sensitive vocal over the first 2:40. As the music ramps up into more dynamic realms Achraf's voice keeps pace--continues to be effective. The music looses a bit of my interest in these middle-sections, however, for me, this is the most interesting song on the album for its dynamic diversity, unpredictabilty and wonderful vocal performance. John Mitchell's guitar solo needlessly extended fails because he is not an emotionally-impactful, singer of heart-felt notes; he's a technical wizard, yet there is very little of his technical wizardry in this solo and absolutely none of the David Gilmour-esque magic that one would expect from this length of time dedicated to it. This is what I would call (excuse the pun) and epic fail! My third favorite song on the album. (18/20)

Total Time 58:44

I must say, the match-making of singer/vocalists with each song is quite masterful--especially for "The Explorer," "The Dreamer," and Charlie Bramald's poetry reading at the end of "The Haunted" as well as Achraf El Asraoui's wonderfully sensitive vocal in "The Architect."

B/four stars; an excellent addition to any prog lover's modern music collection.

Album number four for this talented band from Southern France, who found the bravery and the will to soldier on after the unfortunate passing of Eric Bouillette, who was not only a tremendously gifted multi-instrumentalist but also a wonderful person with loads of personality. He will remain eternally forever more in our hearts, for all of us in our global little community. While their earlier recorded efforts were excellent in all facets, this one just blew the roof off the domed arena! The spirituality that emanates from one of life's most traumatic experiences such as the death of a loved one, has always been a source of profound emotion and intense creativity. With this opus, it becomes clear that there surely are nine skies, as there is undoubtedly a seventh heaven. When people new to prog ask me, somewhat mockingly at times, "What is so special about Prog?", my perennial answer through the past half century has always been: It is a soundtrack to a movie that is playing in your mind, where you are the producer, director, and cinematographer, and you decide how if makes you feel". The theme of this ceremonial tribute to life has been studiously expressed by my esteemed colleague Lazland in his astounding review (visit www.lazland.org). There is no room or need for repetition using synonyms. The only thing I would add, is that just reading the various titles of the chosen lives among the 1001 suggested by the expansive Rudy premise, it becomes apparent that each mature individual who has lived (or continues to do so) a full existence , would have at one time or another, been a WANDERER, an EXPLORER, a DREAMER, an ARCHITECT and perhaps would also have been LOST and HAUNTED by the CHAOTIC experience. While paying attention to the story, I could not help being reminded of that Robin Williams movie 'the Bi-Centennial Man', as it also dealt with human eternity and its rather rare limitations. My teammate has done a painstakingly thorough track by track analysis, so I will defer my thoughts and words to his as they run absolutely parallel (it's a spiritual connection!). With well-chosen and seemingly enthusiastic guest vocalists for each track giving their finest performances, each life/track has its own unique inherency, and the ensuing passion and overt intimacy is simply beyond mere utterances. As with all great classic prog albums, the audition is an introspective journey, a surrender to the senses that requires channeling out all the outer distractions and concentrating on the rush of emotions, the adamant warmth of exquisite melodies and the expertise of instrumental adornments that defy the laws of the routine. It takes one to a celestial level that cannot be explained and frankly, should never even be attempted. Anne-Claire Rallo, Alexandre Lamia, David Darnaud, Achraf El Asraoui, Alexis Bietti and Johnny Marter have created a musical masterpiece that every progfan should endeavour to listen to, and surely own as it's a mantelpiece urn of utter beauty. The presence of gifted guests such as Adam Holzman, John Mitchell, Kristofer Gildenlow and Marco Minnemann, as well as incredible singers like Riccardo Romano, Charlie Bramald, Laura Piazzai, Martin Wilson, and Arnaud Quevedo stamps this with dripping crimson wax of quality and will certainly sit at Everest levels in the 2023 prog album lists. Beautiful cover art, pristine sound, a deeply profound story, and great performances will do that without much resistance.

Finally, I only wish to steer the spotlight towards the final two 11-minute plus epics that encapsulate the reason why this recording will go down as one of the very best of the new millennia. The majestic "The Haunted" is an intoxicating lament that is the owner of an off the charts vocal from Charlie Bramald, dripping with unabashed emotion and suave sensation, a crystalline electric guitar lead that scours all nine skies, and some solid atmospheric foundations. The ebb and flow is astounding, what with the mid-section eschewing classic an old school Genesis feel (acoustic pastoral guitar amid the fluttery bucolic canvas), where no panic is to be demonstrated, just wise advice and a sense of overcoming the anguish of fear, verging on a eulogy to the departed. The equally imposing "The Architect" is a solidly built structure of sound and melody, atmosphere, and passion. With the athletic Minnemann on drums and Mitchell on his trusted guitar, Achraf is inspired to deliver a suppliant vocal that also incorporates some pungent narration, as it launches from serene beginnings and detonates into symphonic bombast that gets weightier as the structure solidifies into shape. A moment of shimmering reflection as to verify the status of the construct, Mitchell expressing his inner Hackett with fluid lines that exude grace and elegance, slowly elevating the arrangement into an imaginary upward vortex of ecstasy. I mean, wow! Yes. Stellar like the stars in the universe. Yes, essential like the air that gives life. Don't be a sinner and forego the pleasure of having this marvel at your disposal.

5 Provencal Luminosities

his is the third album from Nice-based progressive rock band Nine Skies, but somehow, they have passed me by until now, even though I can see that quite a few musical friends of mine took part in their second release (Dave Foster, Pat Sanders, Clive Nolan, just to name a few). They also have some guests on this album, with Steve and John Hackett both involved as well as Damian Wilson singing on one song. The band itself is quite a large one, with Eric Bouillette (guitars, mandolin, violin, keyboards), Alexandre Lamia (guitars, keyboards), Anne-Claire Rallo (keyboards), David Darnaud (guitars), Achraf El Asraoui (vocals, guitars), Alexis Bietti (bass), Fabien Galia (drums, percussion), and Laurent Benhamou (saxophones) along with two more guests in Cath Lubatti (violin, viola) and Lilian Jaumotte (cello).

There may be a lot of musicians, but what surprises the listener when getting into this is just how pastoral and acoustic it is. The arrangements are key here, with the different instruments wonderfully spaced and a real feeling of lightness. It is a relaxed album which feels very English indeed, with piano and acoustic guitar often at the heart. The percussion is interesting as Galia has a wide remit and is often using hand instruments as opposed to a standard drumkit and this provides a different underlying feel. Achraf El Asraoui has a lovely voice, full of emotion, and he can easily move into falsetto when he feels the need which again provides the band with a bigger palette. There is no rush here, it is all about the music and it is an album where it is very easy indeed to get lost inside and is definitely one which benefits from being played on headphones with no distractions.

I find it interesting when looking at ProgArchives that although this has picked up some reviews, none have been from the official collaborators, yet with 49 ratings and four reviews this has a very healthy 4.0 average which has it at #5 of French releases from that year. There is both a simple complexity and a complex simplicity within this album which makes it thoroughly enjoyable from start to finish, and the mellow pace and style really does make this an album to savour. I can see I am going to have to look backwards into their other releases as this really is a delight.

French progressive rock collective NINE SKIES have been weaving their rock, jazz, classical and progressive influences for several years now ? combining their acoustic instrumentation with deep and poignant, poetic lyrics. Their well-received 2017 debut Returning Home looked at a range of different characters from modern city life. Their second album, Sweetheart Grips, released in late 2019, was a dense, complex and often heart-breaking exploration of the experience of a young soldier in the Second World War and especially the tragedy of PTSD.

Their latest release, 5.20, is still recognisably Nine Skies, but more introspective and delicate overall, and I feel this could well be their best album so far. They retain the plaintive, melancholic vocals and lyrical content. However, the music is almost completely acoustic in nature on this occasion and yet has a layered depth, complexity and richness, with intertwining acoustic guitar and piano augmented by strings, flute, saxophone and rhythmic percussion. The musical journey is beautiful, yet challenging - dark and mournful, yet hopeful and uplifting as well. It demands your full attention, but you are fully rewarded by that commitment. Guest appearances by Steve and John Hackett and Damian Wilson are perfectly pitched and help create an excellent, contemporary and intimate exploration of the human condition ? looking at life, death, faith, struggle, suffering, despair and finally hope. The shadow of the current pandemic somehow seems to be etched on the music, without the need to reference it overtly.

Opening track Colourblind starts with smooth acoustic guitar and accompanying bass, with Aliénor and Achraf duetting beautifully on the yearning, poetic lyrics as the contrast between our dreams and reality is considered "I created a dream, A beautiful scene, Coloured balloons in the air, While my being's here." Simple piano motifs, cello and violin build up the tempo, before a jazzy saxophone from Laurent and jagged acoustic guitar, layered over the strings, brings the song to its conclusion.

For many, Wilderness, will be amongst their favourite tracks, not least because it is probably the most melodic and approachable. Lovely, Genesis-style guitar rhythms propel the song over recurring piano patterns. Despite the dark, emotive lyrics, the presence of Steve Hackett and a soaring electric solo over fretless bass, couple with a swaying percussive beat creates a lightening of the mood and that recurring sense of hope from the melancholic sadness.

Beauty of Decay is a very appealing acoustic/classical guitar piece which provides a shaft of light, before a disturbing, hypnotic beat opens Golden Drops. The ominous warning to hold onto your dreams despite your fears. "Cover your eyes, Cover your ears, Keep your golden drops, Dreaming hopes." A prayer-like vocal mixes with a swirling Arabian feel, gives a dislocated feel and sense of unease.

Above the Tide once again uses symphonic-like strings with piano to great effect, and these link well with the multi- layered vocals which almost overwhelm and swallow you emotionally, with the repetition of the main chorus; "Listen to the sea, The weeping sarcasm, Of a thousand smiles, Arise from the foam." Only the final acoustic guitar passage brings a calm to the dark swell.

Dear Mind is the second instrumental, driven initially by the guitar, but unlike the light of Beauty of Decay, we now have the disturbing shade, with the piano joining in and creating contrasting melodies as the tempo rises before the violin hints at a resolution of sorts.

John Hackett's wonderful, trademark, swirling flute concludes The Old Man in the Snow, where chiming guitar lines counter the lyrics pleading to the lonely protagonist to overcome his despair and 'tough it out'; "You have to be strong enough, To withstand the tears. You have to be tough." Ashraf's vocals are especially compelling on Godless Land, as he sings of losing faith against all that confronts us. A snippet of demonic waltz adds to the unreal atmosphere, with piano and guitar locked together as if in a dance towards the end.

An undoubted highlight is Damian Wilson's presence on Porcelain Hill and it is possibly the most accessible of all the album's tracks. He sings as well as I have heard him do so for some time and he expresses the wistful, poignant, weariness of the lyrics as his vocals mingle beautifully with firstly the piano, and then the soothing strings. It has the most memorable chorus ("Porcelain hill, is made of my heart, Melted by a hundred nights, Carved out of a thousand dreams, Smoke and mirrors") and again there is that hint of hope and light to cling onto. A beautiful song - at around 4 minutes in length ? it is just too short!

The third instrumental, Achristas is a dark, unsettling, yet contemplative piano piece that sets up the final track, Smiling Stars perfectly. An elegiac song of mourning and personal loss with all the acoustic instrumentation (including saxophone) and the vocal layering of the album, coming together in a heart-breaking manner and yet with maybe enough light and promise hinted at by the end, with: "When I look at the sky, I can see your eyes. When I stare at the stars, I don't see any goodbye, A thousand of smiling stars, smiling stars." As someone who has recently lost his father, thankfully to old age, rather than the pandemic, it is a tough, cathartic and yet beautiful conclusion to a strong and thoughtful album.

I asked lyricist and keyboardist, Anne-Claire about the album recently, and she was keen to emphasise that whilst it is was not a concept album like the first two, it is very poetic and has common themes and feelings that run through the whole album.

"Achraf (on vocals and guitar) joined the band at the end of the last year and his influences brought a lot to this album. His voice matches well with Aliénor's voice and he composes too ? along with Alex and Eric. Steve Hackett's solo is just amazing. His brother, John, recorded a track with Eric for an album by Howard Sinclair and then agreed to play for us when we were looking for a flute.

"I loved Damian Wilson's incredible voice and feeling on Porcelain Hill? he really loved the lyrics and the song immediately and it was a wonderful experience for me as well. As I am still French when I am writing lyrics? he just changed two or three words to be better 'English', but I have to say that I was so happy that he likes my lyrics so much! This song, and I would say the whole album, is very metaphorical and even if I wrote with my own vision, everyone can create their own vision and interpretation."

Nine Skies have produced a complex, challenging and yet beautiful album that is truly progressive and produces a power and depth at odds with the mainly acoustic approach. All the band combine wonderfully with the strings and guest musicians. The darkness of Anne-Claire's powerful, poetic lyrics recounting struggles and despair at this time cannot fully shut out the uplifting vision they also point to, and the need for us all to somehow carry on. I recommend reading the lyrics as you listen, as the French accent does make the occasional word unclear and they are too good to let any of them become lost.

Finishing on a lighter note, I asked Anne-Claire if there was a symbolic, mystical meaning behind the 5.20 title? "Our bassist Bernard is ALWAYS late? but I mean always! I think he was born late! When he went to the Prog en Beauce festival it was a long journey. We told him that if he was late we would leave without him. We scared him so much that he was the first one to leave at 5.20 am! It was so miraculous that we promised him to call the next album 5.20 as a result!"

(From The Progressive Aspect)

Review #11 - The acoustic side of prog. Today it's going acoustic, not to say "beautifully acoustic!". But more about that later.

First of all, I look back and realize that "5.20" is again one of those albums that can already inspire from the outside. The wonderful cover art by Michael Cheval makes the anticipation of the musical content noticeably greater. But the real highlight is of course the music itself. And if you look at the cast list, you'll be amazed: a nonet. Nine musicians play as a permanent part of the formation and are additionally supported by well-known guests like Steve Hackett, John Hackett and Damian Wilson in the right places. So many musicians also create a mighty loud sound, one might think. But the best thing about Nine Skies new album is that gentle prog in perfection is offered here. Acoustic guitars, violins, cello, saxophone, piano, percussion and muted drums, among others, form the musical core of "5.20". Without a doubt, the band succeeds in making all the instruments sound within a differentiated sound. The strengths of the group lie on the one hand in the songwriting itself, which surprises in many places and above all convinces, and on the other hand in the mood, which is built up and embellished over eleven tracks. The listener is taken from the beginning into the music of "Nine Skies" garnished with warm sounds and dives little by little into deeper and deeper realms, which is quite an exceptionally beautiful prog experience, not least because of many strong melodies. It may sound strange, but that's exactly how I felt after the first listen. Really!

Nine Skies live on their third album a unique synthesis of prog, rock, pop and jazz, which is to be discovered. And there would be so much more to say. So just listen to it yourself and let your ears be spoiled by the extraordinary nonet called "Nine Skies".

NINE SKIES is this recent band known in a small room at the end of a road from which you never come back. NINE SKIES is the French progressive rock group inspired by rock, pop, progressive, jazz, maybe neo-prog on the MARILLION, some titles of GENESIS. Inviting some big names from the prog world, they come to surprise by the singular musical orientation peculiar to themselves; this latest baby is a nod to their often late bassist (that's it). 5.20 is an unplugged record, or almost, with string quartet and composed from A to Z by Anne- Claire. An unclassifiable album where we are going to dive, sink.

"Colourblind" begins with a duet of voices, acoustic guitar, tambourine, jazzy gypsy atmosphere, Lilian's cello, distant voice of Achraf well placed which declines a most pleasant imaginary life, appearance of the spleen sax of Laurent accompanying this digression of strings , a nice appetizer for a pleasant and inventive unplugged sound. "Wilderness" on an "A Trick of The Tail" variation, soft tempo, Aliénor using her voice well and responding with measure on acoustic folk; break with the appearance of Steve HACKETT (and his guitar) with a sound to melt, between melancholy and intimate air, a star that remains anchored in our ears. "Beauty of Decay" continues with an instrumental acoustic guitar interlude where simplicity and purity prevail, leading to introspection. "Golden Drops" arrives, reminds me of an arid break from GAZPACHO, impressing emotion and collection; the drum sets the rhythm; Arabizing air, Ashraf's voice that really adds something to this group; the notes seem to unravel, it sets off on a diabolical, intoxicating, mysterious and austere battle of stringed instruments; one more. "Above the Tide" for the most majestic track, there is MOODY BLUES in it, bombastic and intimate, yet another musical oxymoron; existence of a progressive creative latency, the choir voices bring goosebumps, the symphonic strings in a magical crescendo fly away and join this crow quoted in the text; another great moment. "Dear Mind" for another instrumental where two guitars and a piano come to take the la in this musical café, invitation to a melancholic bucolic journey of all beauty, to meditate without doubting this turning point in life.

"The Old Man in the Snow" for the departure towards an orchestral universe; Breton folk rhyme in the tradition of a GENESIS bell, the contribution of the raw acoustic guitar is surprising, the voice is just sublime, narrating, taunting the instruments; John HACKETT's flute plunges the C into a nostalgic musical space. "Godless Land" for a primary LAZULI aria, archaic, full of emotion, but what Ashraf sings divinely; a little waltz of "Love is All" in touch and then it goes up with a duet of guitar and voice, fortunately because the lyrics are very dark, a reflection of a pandemic, of a disease and of saving words, a cathartic sign surely. "Porcelain Hill" for the album slap; Damian WILSON pushes strings on a composition while crescendo, releasing an atmosphere serene, melancholic, nostalgic, filled with hope; well he's taken by ARENA but hearing him here is a must, his voice taking all the usable air to vibrate even more. "Achristas" and the last instrumental, dark, chilling piano, ideal for contemplation, to come on an intimate film soundtrack like "Delicatessen". "Smiling Stars" for the final clap, piano and voice, drawing on that of Steve HOGARTH; the basic rhyme goes up, the sax coming slowly to graft itself to the intimate melody directing you towards the end just towards SUPERTRAMP; it's sweet and addicting, it's confusing and latent.

NINE SKIES is releasing this romantic spleen album to make us think about this pandemic, a record to take on yourself and listen to alone, far from everything to recharge your batteries; I don't know what little-big Alexandre did about it, but I can feel his vibes that he exudes in his personal albums. An unplugged, underground acoustic opus far from musical dictates, throwing dark, nostalgic atmospheres leading to meditation and hope. In a few notes, you have in front of you a fresh and dark record, elaborate and complex, ideal in fact.

Mournful, Soulful Elegy

Gentle Delicacy with Waves of Emotion

What I hear in this new release (release date June 4, 2021) from (mainly) French progressive outfit NINE SKIES, is a tender and nakedly vulnerable meditation on death, life, and the question of faith.

With gentle acoustic guitars picking and plucking as though at our heartstrings, hushed and sometimes anguished vocals singing of that admixture of joy and nearly unbearable pain- yes, actual unadorned life- and with added sweetness from STEVE HACKETT's searing guitar, JOHN HACKETT's wailing, wandering flute, and stirring vocals from DAMIAN WILSON, each on one select track, we have washes of restrained yet strongly-etched emotion depicted in song.

The Full Band

- Aliénor Favier / vocals - Eric Bouillette / guitars, mandolin, violin, keyboards, arrangements - Alexandre Lamia / guitars, keyboards, arrangements - Anne-Claire Rallo / keyboards - David Darnaud / guitars - Achraf El Asraoui / vocals, guitars - Bernard Hery / bass, fretless bass - Fabien Galia / drums, percussion - Laurent Benhamou / saxophones

With: - Steve Hackett / guitar solo (2) - Damian Wilson / vocals (9) - John Hackett / flute (7) - Cath Lubatti / violin, viola - Lilian Jaumotte / cello

Near as I can tell- although vocal performances aside from Mr. Wilson's are not specifically credited- each member of this gifted nine piece outfit, plus additional string contributions from two guests, show us what restraint, arrangements, compositional skills, and thoughtful presentation can yield.

Gone are the bombast and grandeur of earlier NINE SKIES music, and instead we find a cornucopia of poetic ideas and images- largely penned by keyboardist Anne-Clair Rallo- wedded to lush and most often acoustic instrumentation that takes us from hushed and wistful, to impassioned and painfully hopeful.

Everyone shows up; everyone contributes. And oh! that saxophone!

Did Someone Die?

Especially in the final track, "Smiling Stars", I thought so. Especially then, reading back through the lyrics, I thought I could capture a sense of threads throughout- the loveliness and beauty, and ugliness, and hurt- the dark figures like the menacing reaper who stalks through the most golden of moments- and the gleaming of gold or the glittering of stars that may- or may not- portend something beyond this vale of tears.

I Am Touched and Moved

For me, this is an album that could repeatedly be heard and pondered, for it has layers and depths and subtleties. I rate it as an "Excellent addition to any progressive music collection", and find in it a departure in which greater possibilities may emerge.