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NINE STONES CLOSE

Neo-Prog • Netherlands


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Nine Stones Close biography
Founded in Leiden, Netherlands in 2008

NINE STONES CLOSE was conceived as a solo project by Adrian Jones (Numb, Lie Big, Jet Black Sea): the first album, "St Lo", was independently released in the Netherlands. The project grew into a band for "Traces" when Adrian was joined by Brendan Eyre (Riversea), Marc Atkinson (Mandalaband, Riversea) and Neil Quarrell.

"One Eye on the Sunrise" saw a further evolution of the band with returning members Marc Atkinson and Brendan Eyre now joined by Peter Vink on bass (Q65/Ayreon/Star One/Finch) and on drums Pieter van Hoorn (Knight Area). In 2016 a new line up was announced, with Adrian Jones and Pieter van Hoorn now joined by vocalist Adrian (Aio) O'Shaughnessy (Psychic For Radio, Frame Shift), Christiaan Bruin on keyboards (Sky Architect, Mayra Orchestra) and Peter Groen on bass.

: : : Adrian Jones, Netherlands : : :

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NINE STONES CLOSE discography


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NINE STONES CLOSE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.08 | 30 ratings
St Lo
2008
3.93 | 162 ratings
Traces
2010
3.92 | 216 ratings
One Eye On The Sunrise
2012
3.84 | 115 ratings
Leaves
2016
3.70 | 23 ratings
Diurnal
2024
4.11 | 17 ratings
Adventures in Anhedonia
2024

NINE STONES CLOSE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

NINE STONES CLOSE Videos (DVD, Blu-ray, VHS etc)

NINE STONES CLOSE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

NINE STONES CLOSE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 5 ratings
ReTraced
2010
4.28 | 23 ratings
Falling To Pieces EP
2011
3.71 | 7 ratings
Complicated
2016

NINE STONES CLOSE Reviews


Showing last 10 reviews only
 Diurnal by NINE STONES CLOSE album cover Studio Album, 2024
3.70 | 23 ratings

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Diurnal
Nine Stones Close Neo-Prog

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

3 stars It has been quite some time since I last came across Dutch outfit Nine Stones Close. They were originally a solo project by Adrian Jones (guitar, bass), who brought in other musicians to create a band in time for the second album, 2010's 'Traces', and I reviewed both that and 2012's 'One Eye on the Sunrise'. Mind you, there has been a gap of eight years since their fourth album, and this time around we see a return for keyboard player Brendan Eyre (Riversea) who played on those two, plus vocalist Adrian "Aio" O'Shaughnessy (Psychic For Radio), Christiaan Bruin on keyboards (Sky Architect) and new rhythm section Joachim van Praagh (bass) and Lars Spijkervet (drums).

I was quite enamoured with the two previous albums I had come across, but there is something about this one which feels somewhat soulless and almost by numbers. It has little in the way of joyousness and warmth and consequently comes across as quite a cold release. This does not feel like a band, but much more like a project, and given the way they have come together that is arguably the case. It is difficult to pick fault with the musicians or vocals (which are quite stunning), but rather that the material itself is not as interesting or dynamic as one might expect, and the arrangements are rather one-dimensional. It is an album which the more I have played the less I have enjoyed it, which is the reverse to what normally happens, and if I had reviewed it after playing it just a few times I may well have been singing its praises which is what everyone else appears to be doing. I note they released another album very shortly after this one, so two in 2024 after a gap of eight years and it might have been better to have worked on quality control instead of quantity.

 Adventures in Anhedonia by NINE STONES CLOSE album cover Studio Album, 2024
4.11 | 17 ratings

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Adventures in Anhedonia
Nine Stones Close Neo-Prog

Review by alainPP

3 stars 'Beach Walker' starts latent, dark and cold, a raw, raw sound reminiscent of Rival Suns, a hint of Riverside, Anathema and the Gathering, it makes a nice soup. A soft tone that swells becoming provocative, hard rock sprinkled with a crystalline piano before leaving on this plaintive flight boosted by Lars' noisy pads. 'Anhedonia' on the same plot, softness that moves in abrupt tone; a slide guitar and a clear piano without affect, as the title states. 'Binary' in an encore repetita with this dark and illuminated piano at the start, musical dichotomy; an ambient, atmospheric mid-tempo, let's note the pure, crystalline, detached sound, let's note the echo caused by this melancholic air full of emotion with the aerial spleen guitar. The feeling of listening to the title in the distance with a contained latency and the mysterious air that I found on the prog albums of Dire Straits. 'The Mind' continues, acoustic guitar on the border between the Spanish side and the US slide; the tone is meant to be bluesy with an austere violin before going on the bewitching vintage heavy air, reminiscent of solos by Lesoir. 'Walk Towards the Sun' for the dark, viscous ballad, with a rarefied atmosphere; Adrian's voice makes you shiver, the rhythm jumps and the solo swoons to provoke emotion and the desire to keep hope.

'Landwaster' robotic intro, electronic with synthetic pads that pile up; a ersatz of basic atmospheric music, a raw voice that searches for itself for a hesitant crescendo, exploding into a tribal air reminiscent of the metallic riffs of Rammstein. 'The Moment I Stopped Caring' with the vibrant acoustic guitar, again the western and the delicate air, an anathematic rock lullaby; a restful title wandering in our minds. 'Hole' as in lack, acoustic guitar and dark violin, haunting voice for the romantic-melancholic ballad. The ode to emptiness, to absence, to the need for presence, an icy melody, an energetic firebrand, an intoxicating solo supported by the classical orchestration and the intimate title of the album: magnificent. 'Plastic Animals' as a devastating finale; a long and slow deadly crescendo that bursts from everywhere, honor to Lars' arms, Adrian's fingers, Brendan's to broadcast this refined piece rising to put in a trance; an epic piece that swells and forces respect by creating frenetic; the acoustic outro symbolizing a better end that will not really take place.

Nine Stones Close releases their second act this year, with meditative lyrics about the guitarist's trauma and the same icy atmosphere as the cover. Originally on Progcensor (3.5).

 Adventures in Anhedonia by NINE STONES CLOSE album cover Studio Album, 2024
4.11 | 17 ratings

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Adventures in Anhedonia
Nine Stones Close Neo-Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Barely 3 months after the release of their long-awaited return to form "Diurnal" album, Nine Stones Close keeps the prog foot on the prog pedal by launching an immediate follow-up that offers a darker, starker and heartfelt musical view on immortality, death, grief and pain. The line-up is exactly the same as on the previous adventure, yet the mood is tenebrous and sullen., with the dual keyboards of Brendan Eyre and Christiaan Bruin laying down mounds of atmosphere.

Spectral introduction on "Beach Walker", a solitary coastal stroll on the inner edges of immortality, a kaleidoscope of flashing memories, echo-laced piano renderings challenged by robust rhythmic pounding, feet in the wet sand, leaving .... traces. The lead vocals are nothing more than an urgent expulsion of uttered pain, channeled through collapsing guitar shreds, a million tiny needles penetrating the soul. "Anhedonia "is not a pretty word, a life altering perception of what once was bliss, is now agony. There was once a lyric of song by the Divinyls: "There is a fine, fine line between pleasure and pain" (pronounced 'pine" in Australian). An incomprehensible void of enjoyment, disappearance of smell, taste and touch. Only the torment of sound remains. Sonic sadness incarnate. Bewildering the senses even further, "Binary" settles into a comfortably numb groove of endless artificiality, caught in the space between reality and despair, knowing full well that it's also disease. A flashing tilt sign that never let's go, cranial overload, crashing influxes of useless and useful data, all converging in an unreal funnel of reality. Profound.

The volatile cauldron that is "The Mind" is expressed by an initial acoustic guitar reference, that flips into ravaging electric explosions, amid the twirling keyboard swirls and a lumbering bass and drum steamroller. Switching back to an exhausted piano fluttering and seemingly upcoming relaxation. The segue into the reverential "Walk Towards the Sun", a hint of hopeful salvation at the very least, perhaps buoyed by the need to focus on the road ahead, courageously fighting for some peace, sleepwalking for the sake of one's soul. The focus now shifts to the overtly electronic miasma of "Landwaster", suitably ghostly and vaporous, laden with dysrhythmic concussion. Aio's astonishing vocals are both gruesome and troubling, highly theatrical and yet musically minimalist, as if caught between two diaphanous worlds, unsure and unwilling. Very, very dark. Oh my! The title says it all:" The Moment I Stop Caring", a brief, exclusively acoustic guitar reflection on surrender. After having stopped smiling, laughing, eating and sleeping, capitulation arrives in the form of stopping to care, not out of indifference but rather of a yearning for even a short moment of survival. Why? Because the "Hole" remains, that inner expanse now left fissured and broken with a huge round void of unfathomable loss, wrapped in guilt, sorrow and begging for forgiveness. The beauty of this track is impossible to describe, and perhaps not even needed for those of us who have listened to their inner voice when their loved ones have passed, bewildered, lonely and scarred.

The epic finale comes to the altar on "Plastic Animals", a nearly 9 minutes of reflection on the past, at times even returning to infancy, scouring the memory banks for clues, vindication, acceptance and relief. Asking solitary questions and finding solitary answers, trying to decipher the meaning and validity of 'Who Am I'. A perpetual quest, of that there is no doubt. The insistent arrangement illustrates the sweeping challenges that face us all, especially emotionally, pretty much over our shoulder until our very last breath. The answer arriving then and there, in a nano second of final revelation.

As with the latest Ruby Dawn album, this is a tough but rewarding listen, with barely suppressed emotions that disturb, confound and ultimately free the inner pain that makes us all human.

5 Pilgrimages of Eternity

 Diurnal by NINE STONES CLOSE album cover Studio Album, 2024
3.70 | 23 ratings

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Diurnal
Nine Stones Close Neo-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars Adrian Jones finally comes out of COVID hibernation to revive his band of old--recruiting previous members Adrian O'Shaughnessy, Christian Bruin, and Brendan Eyre as well as importing some new members for the rhythm section.

1. "Birds, Insects & Kites" (3:39) a long, spaced-out intro in which drummer Lars Spijkervet gets plenty of time to show off his unique rhythmic style before and as Adrian's blistering slide guitar solos toward the end. It's great but I was kind of hoping for more. (8.875/10)

2. "The Veil" (1:48) guitar and key atmospherics. (4.375/5)

3. "Ghosted" (4:22) a slow and spacious old blues-based tune with teased out vocals and teased out guitar notes à la David Gilmour, Paul Speer, and Nick Barrett. At 3:40 the song seems to end but, no! Piano and weird "bird" noises drag it into a long descent into a vacuous black hole (at least, on the video). (8.875/10)

4. "Angel of Flies" (7:40) starts out for its first couple minutes sounding more like an homage to the Berlin School of Progressive Electronic music. At 2:10 the "glass shatters" as drums and guitar chords unleash a surprisingly spacious WHO-like rock motif over which Adrian "Aio" O'Shaughnessy sings in a voice that seems to come straight out of the great hairbands of the 1980s. His long hold of vowels is reminiscent of singers like Sammy Hagar, Bruce Dickinson, and David Coverdale. The searing guitar play over the wonderfully-inventive drum pattern helps elevate the song even further. Nice power piece. (13.5/15)

5. "In Remembrance" (2:00) well-spaced piano notes fill a large chamber before bowed bass and/or ebowed guitar notes are added to create a tension-filled discordant cinematic feel. (4.5/5)

6. "Frustration/Sedation" (11:55) a song of almost standard Bob Dylan/Rolling Stones sound that drags on and on without ever really doing much but drawing out a long "Free Falling"-like motif. The performances are all polished and sound great but they lack power, vigour, and effect. Then there is the recitation of a list of "-tion"s from Aio carried out over the last three minutes as the musicians try to amp things up (a little too late, IMO). Nice guitar soloing in the finally 90 seconds (again, a little too late). (21.25/25)

7. "Golden Hour" (1:30) piano and "distant" reverb guitar interlude. (4.375/5)

8. "Dusk" (10:48) spacious slow-build atmospheric music that makes me envision RY KOODER teaming up with NO- MAN to lay their modern interpretation of Glen Campbell's version of Jimmy Webb's "Wichita Lineman." Aio sings in drawn out notes with a sound and passion that makes him sound like AXL ROSE at his most blues-rockishness. The song builds, peaks, and reverts to spaciousness in which Aio Rose injects his long-note two syllable words to the end. Fair but not anything here that is very new or innovative. (17.5/20)

Total Time 43:42

An album of nice sounding music that with very mature and professional performances that just happens to be too spacious and monotonous, start to finish.

B/four stars; a very nice addition to any old time prog rocker's music collection.

 Diurnal by NINE STONES CLOSE album cover Studio Album, 2024
3.70 | 23 ratings

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Diurnal
Nine Stones Close Neo-Prog

Review by alainPP

4 stars "Birds, Insects & Kites" latent electronic intro; Adrian's guitar vibrates, the sound on a RIVAL SONS igniting the air, southern, dirty, heavy and very bluesy; final keyboard pads on this thunderous instrumental. "The Veil" and its animal noises, the violin, the cello, the latent atmosphere persists and intoxicates the listener, leaving him speechless, haggard, circumspect; dark and psychedelic introspective instrumental leading to "Ghosted" a piece that PINK FLOYD could have played if they had continued on the psychedelic genre; the Gilmourian guitar does the job magnificently. Adrian's smooth vocals to soar effortlessly, his minimalist bewitching, reverberating on a possessed post rock before the final piano and its birds in accompaniment. "Angel of Flies" with the perfect intro with these primitive notes taken from a dark string; an electronic musical mantra, a dreamlike crescendo for two hypnotic minutes; the heavy air, on a sad, possessed Jeff BUCKLEY, a LED ZEPPELIN with a raw sound. Lars prints the base with Joachim before letting the sad guitar do its work with a melancholic, viscous and languorous solo; the rise gives a memorable slap. "In Remembrance" comes to conclude in a melancholic way this austere flight with the dark piano, the plaintive cello.

"Frustration/Sedation" for the first of the two long pieces; epic, captivating, a dark and psychedelic sound, a bestial and catchy air, on an obvious crescendo that rises sinuously, on a grandiloquent contemplative air. The synths bring introspection and cause time to stop; there is progression from the DOORS, reverb that is just waiting to explode. The apocalyptic but contained rise, Adrian launching a plaintive solo filled with desolation; this sound reminds me of Alex FOSTER's but darker. "Golden Hour" interlude, piano arpeggio on the overwhelming cello, ANATHEMA in the distance, a Gilmourian solo further away for the moment nostalgic; the notes freeze time again before launching "Dusk" and the guitar slide on a minimalist metronomic pad, 'Paris, Texas' atmosphere. Introspection is required, I see Harry wandering on the road in the desert, haggard; the air takes time, slows down our emotions, the latency heightens the sensations. The twilight freezes with the help of the drums; the crescendo is obvious, very simple but tenacious; a dark insane break, the guitar explodes the speakers; the minimalist piece is captivating with this bass that gives goosebumps; the melodic and tortured piece by the hypnotic beat, Adrian's voice coming to hit like a wave against the notes removed one by one like the petals of a rose.

NINE STONES CLOSE has just released an ambitious album, a mix of progressive grunge rock with tortured solos, raw voices, end-of-the-world post-rock electronic atmospheres. Origin on profilprog (4.5).

 Diurnal by NINE STONES CLOSE album cover Studio Album, 2024
3.70 | 23 ratings

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Diurnal
Nine Stones Close Neo-Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars After a long and self-imposed silence, guitarist and composer Adrian Jones found a great amount of inspiration, some good and some bad, upon extracting himself like billions of other humans from the claustrophobia of Covid 19 sequestration. This forced introspection rekindled a desire to compose again and together with longtime ally Brendan Eyre, they started reassembling the previous crew of vocalist Adrian O'Shaughnessy and keyboardist Christiaan Bruin and began writing material. A completely revamped rhythm section was then added to the mix, namely bassist Joachim van Praagh and Lars Spijkevet (Automatic Sam) on the percussive kit.

For those too exhausted to google the title, 'Diurnal' is the opposite of nocturnal. The album has an expansive, fresh and radiant texture that hits the listener within the first seconds and keeps the brilliance on full throttle. Sonic proof comes with two opening introductions that highlight this sunny mood. The awakening of the glowing sunrise, greeted by electronic impressions of 'Birds, Insects and Kites' with Adrian's guitar buzzing like an amorous yellowjacket, as Brendan's keyboards soar like an eagle in the sky, and where the rhythmic kites fly! 'The Veil' is a brief stint in melancholic and ambient introspection, ready to face the day and come what may!

'Ghosted' is the first single and a consummate groove is set with a characteristic Nick Mason minimalism that gently rouses all the pent-up emotions that had a chance to rest. O'Shaughnessy (Aio) snatches the microphone and immediately impresses with a tone and a sense of pathos that is only accentuated when Adrian's seductive guitar decides to duet with his vocalist. A forlorn piano blurs the space between the heart and the chirping birds. Magnificent!

The first of three extended pieces 'Angel of Flies' is a modern, nearly 8-minute mini-epic, densely atmospheric with swarming orchestrations that cloud the horizons with a variety of natural apparitions, as the rhythm section conjures up a whirlwind of complex drumbeats and scathing bass undertones. Aio delivers one hell of a theatrical performance, his voice profoundly infected with gritty determination, soaring majestically to incredible elevations. Adrian Jones' guitar scratches the underbelly with seasoned detailing as the rising plea intensifies with each passage, his guitar cutting mercilessly like a saw gone haywire. One word: gulp!

'In Remembrance' is a stark yet nostalgic classical vignette, twinkling piano and orchestrations shimmering in misty reflection. Two minutes of ritual purification. Why? The arrival of the tectonic epic beast 'Frustration -Sedation', that's why! Flirting with the pendulum of moods is not an easy undertaking, but the doomsday feel interspersed with contemplative thought is simply intoxicating, as the listener simply knows that the explosion is just around the bend. Aio raises the roof with an exasperated vocal performance that accuses, growls, pleads and despairs. 'Murmuration, Stagnation, Vibration, Resignation' are the words that ultimately lead to frustration and sedation. And yet, there is a return to a positive melancholy, 'sweet tranquility' and an ornate piano melody flush with hopeful salvation, 'standing in the sun'! It has a little Stairway to Heaven feel, I kid you not! Especially when Adrian's briefly slashing guitar reboots the dour implication of our domination, with Aio once again going ballistic, like an ICBM fuming from all its rivets! The scorching axe solo has a little Jimmy Page appeal as well, a much sweeter tone while still being crazily intense. Killer!

Another infusion of soft and soporific anesthesia is to be found on 'Golden Hour', same method but with the electric guitar twirling with the strings. Majestic! We arrive at the final extended marvel, what else could it possibly be but a track called 'Dusk'! It cleverly kicks off in a similar funereal drum beat like on 'Ghosted', except the stick work is way slicker, echoing guitar slashes glimmering as the gorgeous melody builds in poignant intensity. One hell of a celestial melody, may I be allowed to add! Aio does it once again with a dynamic voice that exudes blood, sweat and tears and I feel like crying, its so overpowering! Once again, the drum work stands out as quite impeccable, formulating the two extremes of simple complexity, the bass churlish in the far corner, grinning and the plethora of alternating and ghostly details from Adrian's fretboard, while the keys paint the dimmest dispositions. The impending arrival of the nocturnal blanket, when fatigue and weariness have taken its toll, and the pillows beckon the warrior to gently surrender into slumber. Good night, sleep tight!

All this flurry of activity has amassed enough additional material to prepare for a second release in November 2024, 'Adventures in Anhedonia', a much more personal descriptive of those pandemic related traumas and fears. 'Diurnal' is set to be released globally on June 11, 2024. The three extended pieces are some of the finest this artist has ever produced. Do not hesitate on getting sonically seduced by this masterful album. Nothing worse than forgetful regret! One ot the top albums of 2024

5 nocturnal opposites

 Leaves by NINE STONES CLOSE album cover Studio Album, 2016
3.84 | 115 ratings

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Leaves
Nine Stones Close Neo-Prog

Review by rstaylor

5 stars 'Leaves' is the most recent offering from English/Dutch (and now Irish!) band Nine Stones Close, and if you're reading this review, you are probably already aware of their previous offerings ('St. Lo', 'Traces', 'One Eye on the Sunrise'). If you are a fan of any or all of these albums, let me say this simply: you owe it to yourself to listen to their newest album. It is a brilliant piece of work from start to finish.

One thing NSC have never been accused of is sitting on their laurels, and 'Leaves' is no exception. Most notable is the change in vocalist: Marc Atkinson is out, and Irishman Adrian O'Shaughnessy is the new man on vocals. NSC have also recruited a new keyboard player (Christiaan Bruin) as well as a new bass player (Peter Groen), so it should come as no surprise to anyone that we have some changes in sound here. Rest assured, however, that mastermind of the group Adrian Jones (guitar) is still on board, as is the incredible drummer Pieter van Hoorn. Adrian O'Shaughnessy is a much more muscular vocalist that Marc Atkinson, with a vocal style and range more oriented towards heavier music, and that vocal power is required on 'Leaves': this is a darker, heavier album than anything NSC have released previously. That's not to say that this album doesn't sound like a NSC album: the songwriting is, to these ears, a very logical progression from OEotS, but the arrangements here are often considerably more guitar-oriented and distorted than on their previous albums. And they make it work, believe me. Your first listen to this album may be a bit disconcerting, but by the end of your second listen, this album will definitely make sense as a Nine Stones Close album. This is a progressive album, in the truest sense of the word, by a band that does not believe in doing things the easy way.

This remarkable album clocks in at just under an hour, with only five songs present: opener 'Complicated' is the runt of the litter at only five minutes in length; this is followed by 'Goldfish' (12:47), 'Lie' (9:59), 'Spoils' (16:35) and the title track 'Leaves' (13:45). Rest assured that there is no dead weight in any of these longer songs: they develop, evolve, progress and move ever-forward, never outstaying their welcome. I won't review each song individually, as there are other reviews online which do this in great detail, and probably better written than I could manage! I will say, though, that the wide range of influences on show throughout this album - King Crimson, Pink Floyd, Alice in Chains, Soundgarden, Porcupine Tree, Marillion - are combined to produce an album that manages to never sound like anyone other than Nine Stones Close. Perhaps an more aggressive NSC than we've heard before, but with a lot of fascinating things to say, both musically and lyrically. Do yourself a favour and listen.

 Leaves by NINE STONES CLOSE album cover Studio Album, 2016
3.84 | 115 ratings

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Leaves
Nine Stones Close Neo-Prog

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars Sombre expanses, decidedly forceful environments and desolate reactivity. Nine Stones Close (NSC) have altered their state, moved beyond the zone of calm twilight and flung themselves into a completely different sonic dominion. A rather massive shake-up of personnel was at the forefront of such an adjustment as Adrian Jones on guitars and drummer Pieter Van Hoorn have re-tooled their muse, bringing in talented Dutch keyboardist Christiaan Bruin (who has a few albums under the 'Chris' moniker), bassist Peter Groen and a versatile Irish vocalist Aio O'Shaughnessy (Frameshift) . Adrian's fabulous Jet Black Sea project obviously tailored a new and fresh direction, a stark universe loaded with intensity and gloom. While quite a new experience from their previous works, their melancholic nature is forever present, now heightened by a sharper palette as well as a more masculine vocal presence that does take a little getting used to at first.

Things start out in classic form on 'Complicated', a brooding mood swings in the atmospherics and little time is wasted to introduce Adrian's scratchy guitar and Aio's rather exalted vocals , elevating the power levels to raunch and launch, the driving bass and van Hoorn's powerful drum fills giving all the support needed. Angry and, well ''complicated'! Sinuously seductive with a dash of sonic perversity, this could have been a heavy Porcupine Tree styled song, if not for the more urgent vocal stylistics. Short and to the point, welcome to the new NSC!

The next 4 tracks are all 10 minute + affairs, so this is a dense, developed to the gills opus that provides immense depth and width. First up, 'Goldfish' is a whopping expanse of annoyed ambiance, heavily drenched in cyclical psychedelia that forges mood over matter, feeling over formula. Fizzy somnolence allied with electric rage, there is a panorama of emotions that span the gamut, from anguish to irritation, showing little penchant for platitude. Adrian laces a myriad of licks, bites and chomps to the synthesized stew, at times clanging, chiming and ringing chords to great effect, using some slide guitar phrasings to add some garnish. Bruin remains discreet, effectively coloring the arrangement with tons of modern flourishes, rich in electronic effervescence. Aio languishes in his lament, cuing the rhythm section to forcefully kick in the door and let the power enter the fray, brutally and uncompromisingly! A tremendous epic track of the highest order.

The bittersweet expression of 'Lie' is totally unexpected, an oblique, raw, almost dissonant and grungy piece that exhorts a desire to stupefy and confront. This is a heavy, greasy and unshaven colossus, hinting toward a more hurricane-like delivery that yearns for discomfort and sleaziness. The stunning vocals are desperate, almost frenetic, hence quite the polar opposite of the more feminine (but brilliant) style of Marc Atkinson. The insistent rough guitar shrapnel pains, threatens and scars the uninitiated listener, all kinds of interesting stylistic experiments that truly are progressive in terms of evolutionary context. Yes, this is more demanding and complex that the previous NSC works, requiring open-mindedness, participation and concentration. Adrian outro solo is agonizingly stellar.

The longest track, 'Spoils' clocks in over 16 minutes, an adventure in progressive mastery that may remind some fans of PTree's glorious epic 'Anesthetize', in that it stretches the scope from hushed romanticism to hysterical abandon, with every other emotion in between. The balls it takes to leave a man and a microphone alone with scarcely any accompaniment is quite the gamble, as Aio hurls forward his wounded venom, until the rage explodes like some monstrous cyclone of dread and doom. The Led Zeppelin (a la Kashmir) riff will catch you unaware (even if I gave it away), a sudden and booming elevation into the upper territories of bombastic symphonic prog, Aio bellowing and blaring with unchecked sizzle. This teeter-tottering between black and white, once soft and then hard is expertly displayed, in the most convincing manner by all the instrumentalists as well as the lead singer, each focused on the prize. The lyrical content is dour, pessimistic and flat out despondent. Another sensational but arduous ride, squeezing the soul with apparent impunity.

The final and title track is the clincher, a tremendous opus stamped with genius of unparalleled proportions, displaying incredible restraint and creative intelligence, Peter Groen in particular doing some finesse work on his bass guitar, Adrian caressing his frets with vivacious delicacy, the subtle jazzy drum filling and Aio's muttering grievance, all in tune as if in a gentle and relaxed bubble, waiting for the release. When he states 'I only drink when I am drowning', the sheer brilliance hits you like a ton of bricks, the soporific voice reminding one of vocalists such as Steve Hoggarth or early Mark Hollis, undeterred by the clever electronic keyboard barrage. The impression that this fleeting feeling can go on forever is slashed by a whopping guitar solo, a crescendo slowly building up momentum and passion that is purely mesmerizing. With more astute lyrics like 'Have you ever seen the light, have you ever lived your life', the realization that both artist and spectator are in a symbiotic pleasure dome that has achieved the loftiest level of intensity: aching beauty, delirious melancholia and the coalescence of simplicity. The finale is grandiose and explosive, proof is in the undeniable impression of sonic afterglow.

If a fan of the heavy progressive scene, you will find all the challenges that you need to continually discover new twists within tracks you may hear many more times gain, it's just THAT dense. It's not an easy listen, no fluff, no respite, no ballad, no top-ten attempt. The Porcupine has chopped down its Tree, perhaps it's time to rake in the 'Leaves'.

Just plain amazing!

5 Shrubberies

 Leaves by NINE STONES CLOSE album cover Studio Album, 2016
3.84 | 115 ratings

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Leaves
Nine Stones Close Neo-Prog

Review by marbles259

5 stars

Nine Stones Close

Leaves

Adrian Jones is not a man that likes to be pigeon-holed. His involvement with the spectacular The Path of Least Existence by Jet Black Sea (the duo of Jones and Michel Simons) brilliantly showcased his love of the experimental, soundscapes and instrumental workouts. With the latest album by Nine Stones Close, he has once again shown he is not afraid to push the boundaries.

Leaves, the fourth outing for the Anglo-Dutch outfit, shows such a change and development in sound, that some may wonder if it was recorded by the same band. That said, only two-fifths of the line-up that recorded 2012's ,One Eye On The Sunrise feature here. Adrian Jones (guitarist / driving force behind the band) and Pieter van Hoorn (drums) remain. The new recruits are Christiaan Bruin (keyboards), Peter Groen (bass) and most significantly Adrian (AiO) O' Shaughnessy (vocals).

Previous Nine Stones Close albums have always had a distinctive, atmospheric sound with nods to bands such as Pink Floyd, running through them. Amongst this, Jones has never been afraid to use introspective lyrics and with this album, Nine Stones Close has moved more deeply into that territory with their music too. Long-time fans of the band will no doubt find this surprising at first and there will certainly be some who will find O'Shaughnessy's vocals a little difficult to adjust to, such is his difference in style to Marc Atkinson. Therein lays the beauty of this album. It would have been easy to find a vocalist closer in range and technique to Atkinson and simply carry on. This album is heavier, darker and infinitely more brooding than any of its predecessors. With this in mind, the performance of O'Shaughnessy fits perfectly. In any case, Jones has never taken the easy route or the soft option. During the making of this album, over an hours' worth of material was shelved and the entire writing process re-started, such was his desire to make this album a real statement of intent.

And so to the songs themselves.

Opener, Complicated (on release for several weeks before the full album) clocks in at five minutes dead and is the shortest track on the album by another five. It is immediately apparent that this is a new Nine Stones Close and while Complicated isn't completely indicative of what's to come, it is enough of an appetiser to show that the band really is onto something different here. The lush keyboard introduction hails back to sounds of previous albums but the arrival of the driving bass and a staccato guitar riff, take us somewhere totally new. Within the first minute, the lyrics reveal just how dark this journey is going to be. "Another scar, another day, just want to close my eyes". Even by his standards, Jones' has really opened himself up on this album and the lyrical darkness is a constant throughout. Written well after the other tracks on the album, it must have been an easy decision to place Complicated first in the running order, as it makes a bold statement about the new line-up and new sound in a short space of time. Without being a throwaway track by any means, with Complicated placed here, it seems introductions are made and the serious business can truly begin.

The next four tracks, which comprise the dark heart of the album, are all at least ten minutes long and allow for deep exploration of the band's new direction. This album hasn't been designed to be an easy listen; it needs time to really get under the skin.

Second track Goldfish is a sprawling, inspiring and frankly superb thirteen minute epic warning against the hypnotic effect of 24 hour media. The track builds superbly, "I watch TV, I hit the key, desire on demand" sings O'Shaughnessy in the opening moments, pulling us into a dreamlike trance. Grunge influences are strong in this song but there is great diversity between the different sections. There are moments taking us back to Fugazi-era Marillion (particularly on the guitar solo during the final quarter) and there are several flashes that wouldn't be out of place on one of Steven Wilson's most recent solo outings. It may just be the best thing the band has ever produced.

Lie, just a few seconds short of ten minutes, is the closest we get to prog-metal on the album and stakes its claim as the heaviest and dirtiest track in the Nine Stones Close canon. The louder instrumental sections demonstrate just how well the rhythm duo has gelled; Peter Groen plays like he's been here all along. It also gives much credence to the view that Jones' approach to guitar on this album contributes fully to the band's engine room. As part of an album with intense, ominous lyrics it's hard to point to any moments of light. Lie continues this, "I'm obsolete and replete, I dance to your beat and sing your song". Jones writes lyrics which invite deeper analysis and Lie is no exception.

Up next is Spoils, the longest track on the album at sixteen-and-a-half minutes, which twists and turns like an espionage thriller. There's definitely an element of Led Zeppelin in the chemistry between the guitars and the keyboards in the first half and also in the chunky chords of the latter section. Spoils, like most of the album, has so many layers, haunting, echoing, distant vocals can be heard in the quieter sections, that much praise should be given to the mix and mastering of sound engineer Paul Van Zeeland. The sinister, sombre lyrical themes don't let up throughout. "Keep this up, cellophane lie, forget the world, forget people, forget love"

Rounding off the album is the fourteen minute title track. It is the most atmospheric, ethereal track on the album with a drone-like sound and a lyric that is forever searching for some kind of freedom; "Seems I only drink when I'm drowning, at least that's what I tell myself, yeah?I only drink when I'm drowning, guess I just don't swim too well." It's lengthy build up brings to mind, structurally if not musically, A Few Words For The Dead from Marillion's Radiation album. Leaves is a slow burning epic closer which builds an enigmatic theme with empyreal guitar and quiet but insistent cymbal, before exploding eight minutes in. Portentous bass and a questioning, anguished vocal, (Did I ever really live my life?), bringing the main part of the song to a close. That leaves us with the beautiful piano-based coda, based on a guitar part from earlier in the track. After an album of solemnity, perhaps this displays the hope that should never be fully driven from us or maybe its melancholic timbre validates the fact that in the end, we all "leave".

Leaves is an intense emotional journey and those looking for an album of background music or one that will click into place on first listen should look elsewhere. This album grows and claws at you with each play. The direction the band has taken shows not only courage but the unwillingness to stand still. The new line-up should rightfully be proud of such a work and they deserve this album to take them to the next level.

Where Nine Stones Close goes next will be of great interest but I can only hope that in this age of speed, instant information and "goldfish", listeners will give such a worthy opus the time it deserves.

 One Eye On The Sunrise by NINE STONES CLOSE album cover Studio Album, 2012
3.92 | 216 ratings

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One Eye On The Sunrise
Nine Stones Close Neo-Prog

Review by sinslice

3 stars My problem here is with title track. The foregoing seems to be a good prelude to the same. In turn, it is the most progressive part of the album, along with Frozen Moment, by sudden changes and search for originality in it. It begins with a delicate acoustic intro in line with the previous piece, then enter an alternative rock course, to return in the seventh minute on a passive ground, in last two minutes becomes anarchy.

Frozen Moment is more balanced, but also unnecessary repetitions, spare 3 or 4 minutes.

Highlights for me are Janus, Sunset (instrumentals), Eos, A Secret, The Weight,

Between 3 and 3.5 stars....

Thanks to DamoXt7942 for the artist addition. and to Quinino for the last updates

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