▄█████▄ ░█████▄ ▄████▄░█▄ ░█▄ ▄█████▄ ███▄██ ▄██ ▄█▄ ▄██████ ▄█▄ ▄███ ░████░██▀████▓ ▀██ ▄██░▀█████ ████ ███▓ ██████▓██ ▓███████ ███▓░▀█▀████ ███▓ ███▓ ▓███░ ██ ██▄ ▄██▓██ ▓███▓██░ ▓███░███░███████████▄ ███░███░ ███░ ▄███ ███ ▄█▀░ ████████░██ █████████▄ ▓██░███ ███▓█████████ ███████ ███ ███░ ███████ ███▓ ░██ ██ ██████▓ ░██ ▀██ ███░███▓██████ ███▓███ ███ ███ ████████░███░ ███ ██▄ ██▓███░ ██▄ ██░██▓ ███ ▀▀████ ███░███ ███ ███ ███▓░███████░ ███ ███▓██ ███ ███▓██▓██░ ███ ▓████ ███ ███ ▓██▓ ███ ███░ ▓██████ ███ ▓████ ▓██▄ ▓████████ ███ ▓███ ███ ███ ███░███ ███ ░██████ ███ ░████ ░███ ███▓███▓ ███ ░███ ███ ███ ██▓███ ███ ███▓██ ███ ███ ▓██▄ ███░███░ ███ ███ ███ ███ ░█████ ███ ██▓░██▄ ███ ▓█▀ ▓██▄ ███ ██░ ███ ██▓ ███ ███ ░███▀ ░█▀ ██░ ██ ░█▀ ░███▄ ▀ ▀ ▓█▀ ███░ ░█▀ ██▀ ██░ ▄██▀ ░█▄ ▄███▀ ░██ ░ ██ ▓░ ▓░ ██░ ▓█░ ░█▀ ▀█░ ░█▓ ░ ██ ██ Artist: Nine Stones Close ██ ██ ▓ █░░ ■█ Album: Leaves █■ ░░█ ■ █▓▀ █ Year: 2016 █ ▀▓█ ░ █ ▓ Rel. Date: 2017-04-16 ▓ █ ▒ ▒ Genre: Progressive Rock ▒ ▒ █▄ ░ Label: Bad Elephant Music ░ ▄█ ░ █▄ ░ Source: CD ░ ▄█ ░ █▓ Type: Album ▓█ ░ ▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓ ▓ █ █ ░ ▓ ▄ ■ ■ ▓ ■ ░█ █░ ▀ █ '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. █ █ █ █ --- █ █ █ █ 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'. █ █ █ █ --- █ █ █ █ 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. █ █ █ █ --- █ █ █ █ 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. █ █ █ █ --- █ █ █ █ Reassuringly often in these days of what seems to █ █ be a resurgence of great progressive rock an album █ █ is brought out that completely obsesses me for █ █ several months. I bought One Eye on the Sunrise █ █ months ago, knowing it was going to be something █ █ special. It grabbed me from the very first playing █ █ and i listened to it many, many times over the █ █ ensuing weeks. █ █ What is more unusual is an album that grabs you in █ █ this way and maintains its hold on you, still █ █ seeming fresh and never sounding too tired or █ █ familiar. The addition of a real drummer this time █ █ around has made a tangible difference to the sound █ █ that Adrian Jones and his talented crew make. I'm █ █ not going to do a laborious track by track █ █ critique here, there are others more proficient █ █ than I at doing that. █ █ To me the most important thing is that this music █ █ just works on so many levels, whether the █ █ exquisite vocals from Marc Atkinson, the inventive █ █ soundscapes provided by keys man Brendan Eyre, the █ █ soaring guitar playing of Adrian Jones himself, or █ █ the driving rhythms and supporting percussion █ █ offered by Pieter Van Hoorn, for me this album █ █ ticks all the boxes, even to the extent of giving █ █ my much desired, but rarely achieved, full on █ █ emotional reaction, tears, goosebumps etc. The █ █ addition of Cellist Katy Bell on 2 of the tracks █ █ demonstrates a new maturity of composition that █ █ greatly adds to the overall sound pallette. New █ █ bass man Peter Vink and the wonderful Matt Stevens █ █ also contribute well. █ █ I know that, despite the departure of Marc █ █ Atkinson, that Adrian is already hard at work on █ █ the next album and I, for one, am already watering █ █ at the mouth in anticipation. █ █ █ █ --- █ █ █ █ This melancholic, atmosperic & mostly low-tempo █ █ album desserves an acclaim. █ █ Neo-prog is a sub-genre that lost some momentum █ █ the last years. Still, there are a few projects █ █ that keep it on track with the quality we can █ █ expect. █ █ As such, the album sounds rather modern and mix █ █ neo-prog with some symphonic & psychedelic █ █ influence. The atmosphere it delivers reminds me █ █ sometimes Blackfield. To a lesse extend we can █ █ find influences of Pink Floyd and late Marillion. █ █ After a (long) instrumental introduction track █ █ that starts quicking with guitars after 2min. The █ █ next 3 tracks are mainly athmospheric with guidar █ █ and organ support and a soft but mastered singing. █ █ Threads (2nd track of the album) is arguably the █ █ best. The last track (Thicker than water) is over █ █ 14 min long. After a first half keeping the spirit █ █ of the previous tracks, the second half of the █ █ track delivers more heavy song with prominent █ █ guitar and mid-tempo (a bit like Knight Area). █ █ Overall, an excellent ablum that I recommend. █ █ █ █ --- █ █ █ █ NINE STONES CLOSE continue with the same style as █ █ was heard on their previous album "Traces". This █ █ is melancholic and atmospheric with those Mark █ █ Hollis-like vocals that sing about loss and hope. █ █ It's interesting that we get KNIGHT AREA's drummer █ █ on board for this one. █ █ "Faceless Angel" is a short opening track with █ █ samples and piano leading the way early then it █ █ builds to a majestic sound. "A Secret" is mellow █ █ with those reserved vocals joining in. It does █ █ build on the chorus each time. I like the deep █ █ atmosphere after 2 1/2 minutes and the emotional █ █ guitar solo that follows. "Janus" opens with █ █ electronics and atmosphere then the guitar and █ █ drums start to take over. It settles back with █ █ piano only after 2 1/2 minutes then the guitar and █ █ drums return on this instrumental. "...And Dream █ █ Of Sleep" is less than 2 minutes of relaxed music █ █ including plenty of acoustic guitar. "One Eye On █ █ The Sunrise" opens with intricate guitar melodies █ █ as the vocals join in. Strings and piano help out █ █ as well. It kicks in just before 3 minutes to a █ █ surprisingly heavy soundscape with passionate █ █ vocals. Contrasts continue. █ █ "Eos" is a short track with vocals. Once again █ █ it's melancholic and mellow. "The Weight" is █ █ atmospheric until about 2 minutes in when it picks █ █ up some with vocals. Contrasts continue. "The █ █ Distance" sounds good with that intricate opening █ █ guitar. Vocals join in then the guitar is █ █ strummed. The intricate guitar is back as these █ █ contrasts continue. I like the piano after 3 █ █ minutes. "Frozen Moment" opens with aggressive █ █ guitar as the sound builds. This is surprising. By █ █ the way this is the longest track at over 13 1/2 █ █ minutes. It settles back with vocals before a █ █ minute. Nice drum work after 8 1/2 minutes as it █ █ picks up again. Best song on the album in my █ █ opinion. "Sunset" is the short 1 1/2 minute █ █ closer. Piano and violin lead the way. █ █ Unlike most I prefer "Traces" to this one. This █ █ just hasn't clicked with me and in fact has done █ █ the opposite over time. Good record though. █ █ █ █ --- █ █ █ █ Nine Stones Close churn out another set of highly █ █ emotive and passionate songs on One Eye On the █ █ Sunrise. Those who prize intricate songwriting or █ █ novel tangents in their prog probably are best █ █ moving on here, but on the other hands if you like █ █ broody-moody vocals delivered in a fairly █ █ accessible style (courtesy here of Marc Atkinson) █ █ to a lightly proggy backing with a mild focus on █ █ guitar (Adrian Jones) then it might float your █ █ boat. I wasn't too taken with the preceding Traces █ █ and I'm not bowled over by this - as far as █ █ introspective, moody prog in this general vein █ █ goes I found Edison's Children's debut album (In █ █ the Last Waking Moments) to be markedly superior - █ █ but they're drifting in the right direction as far █ █ as I'm concerned. █ █ █ █ --- █ █ █ █ Nine Stones Close third album is another huge leap █ █ forward after St Lo and the follow up Traces.First █ █ of all the main thing that has improved is the █ █ production,but most of all the use of a REAL █ █ drummer and what a fine drummer Pieter Van Hoorn █ █ (Knight Area)proves to be.The aquisition of Peter █ █ Vink of Dutch prog legends FInch,also is an █ █ inspired choice as is the core crew of Marc █ █ Atkinson and Brendan Eyre on vocals and keyboards █ █ respectively. The album opens with a huge slice of █ █ symphonic prog instrumental,Faceless Angel,which █ █ lays the foundations of what is to come.A Secret █ █ is next with a gorgeous Atkinson vocal setting up █ █ for a grand finale of synth and another fine Jones █ █ solo.Another instrumental follows in the way of █ █ Janus which is my personal favourite on the █ █ album,a mellotron chord sequence interspersed by █ █ wailing guitar and a metronomic drum beat,melting █ █ into gentle piano riff and vintage string synth, █ █ and then opening like a spring flower with █ █ splashes of classical guitar and choral █ █ vocals...stunning. And Dream of Sleep is yet █ █ another fine acoustic instrumental with a touch of █ █ piano and a bit of strings which is the appetiser █ █ for the epic title track of the album,One Eye On █ █ The Sunrise is a mishmash of styles ranging from █ █ acoustic,almost folk like with gorgeous cello and █ █ piano and what is Marc Atkinsons finest vocal on █ █ the album where he moves from gentle plaintive to █ █ screaming painlike in anguish..superb.The riff is █ █ Led Zep like in style as the song takes off and █ █ the rythmn section of Vink and Hoorn truly █ █ shine.EOS is next, which is a Floydian track and a █ █ repeat riff from the opening Faceless Angel with █ █ some great dreamy keyboard work from Eyre,The █ █ Weight is the most Traces like song on the █ █ album,another great Atkinson vocal and melody but █ █ the track is rather let down by the strange █ █ opening gambit that sounds out of place with rest █ █ of the track, with the soloing rather loose and █ █ out of tune in parts and spoils for me what is █ █ another very strong piece.The Distance is a █ █ beautiful atmospheric ballad that shows off again █ █ Atkinsons vocals and also Eyres beautiful piano █ █ and string parts..its also light relief as its █ █ doesnt have an extended heavy section or soloing █ █ which is sometimes overdone rather than keeping it █ █ simple.Frozen Moment is,quite simply the best █ █ slice of heavy prog you will hear anywhere,the █ █ whole band really let rip with fine riffs and █ █ thunderous drums and bass from Vink and █ █ Hoorn,interspersed with great soloing from █ █ Jones,Matt Stevens and Eyre,also a mention for the █ █ slight but effecting backing refrains from Stolen █ █ Earths Heidi Widdop...a truly great moment. Sunset █ █ is a beautiful Eyre piano piece with some mornful █ █ cello combining for what is the perfect end to a █ █ great great album. I look forward to what Nine █ █ Stones Close come up with next, but this will take █ █ some beating. █ █ █ █ --- █ █ █ █ Although there was never point where I found █ █ myself outright disliking it, I found myself less █ █ enthusiastic about Nine Stones Close's first album █ █ "Traces" (second if you count the Adrian Jones █ █ solo work "St. Lo"), and couldn't really get into █ █ what the band was doing. Although the soft, █ █ melancholic approach was pleasant to the ears, I █ █ felt the band's songwriting tended to stay mellow █ █ to the point of ennui. I found myself wanting more █ █ than the purely introspective, Floydy sound Nine █ █ Stones Close hoisted their flag under. Barring a █ █ dynamic range that wasn't meshing with personal █ █ taste however, Nine Stones Close demonstrated some █ █ great promise as a full band; a potential further █ █ realized with "One Eye on the Sunrise". Although █ █ the melancholia and brooding staples of the band's █ █ sound remain, Adrian Jones and company have █ █ widened their range and scope of their ambition. █ █ "One Eye on the Sunrise" doesn't completely solve █ █ the existing style issues I've had with the band █ █ since I first heard them, but I can at least call █ █ myself a fan of what they're doing. █ █ As was the case on "Traces", many reviewers have █ █ cited emotional resonance and atmosphere as the █ █ "One Eye on the Sunrise"s selling point. Indeed, █ █ Nine Stones Close's big focus on sentiment and █ █ feeling in their music diverges them from most of █ █ the bands nowadays that fall underneath the █ █ progressive rock umbrella. Adrian Jones' melodic, █ █ soulful guitar work recalls the Floyd legend █ █ himself, David Gilmour. Returning keyboardist █ █ Brenden Eyre and bassist Peter Vink's sonic █ █ contribution are more reserved, offering a █ █ welcoming ambient backdrop for Jones' guitar work, █ █ with a keen insight on translating the atmosphere █ █ to fit both the sentimental and rock-oriented █ █ moments. Although there are several passages that █ █ point the spotlight on Jones' guitars, it's often █ █ vocalist Marc Atkinson that keeps the listeners █ █ attention. Although his voice was pleasant on █ █ "Traces", his performance here is much improved, █ █ sporting a wider range, even shedding the █ █ melancholia entirely for the occasional rocking █ █ chorus. Although his improved diversity is what █ █ sets him a step above his past self, his strongest █ █ talent remains the emotional warmth that he brings █ █ on the album's most tender moments. The soaring █ █ hook of the laid- back "A Secret" showcases an █ █ intense vibrato that gets under my skin. █ █ Nine Stones Close may still keep most of their █ █ stones in the school of mellow sentimentality, but █ █ unlike "Traces", I get the sense here that they █ █ know when to rock. The title track is a perfect █ █ example of this, featuring some crisp riffs that I █ █ might even hear on a classic Rush album. The █ █ addition of Pieter van Hoorn for drum duties is a █ █ strong move towards a more intense style, a █ █ drummer I've appreciated exactly for his █ █ energetic, precise approach since hearing his █ █ performance with Knight Area. The range brings a █ █ much- needed jolt of caffeine to the band's sound, █ █ although there's been nothing lost from their █ █ originally 'tender' take on prog. Nine Stones █ █ Close writes music for rainy, introspective █ █ nights, and while "One Eye on the Sunrise" still █ █ isn't an album I can recommend for everyone, █ █ they've come a long ways. █ ▓ ▓ ▒ ▒ ░ 1. Complicated 5:00 ░ ░ 2. Goldfish 12:47 ░ ░ 3. Lie 9:58 ░ ░ 4. Spoils 16:35 ░ ░ 5. Leaves 13:45 ░ ░ 58:05 ░ ░ ▒ ▒ ▓ █ ░ ▓ ░ ■ █▄ ░ ██ ▀█▄░ ▄▄▄▄▄ ▓ ░ ▄▄▄▄▄ ░▄██░ ░ ▀████▓█▄▄█████████▓░ ███ ███▓░ █████████▄▄██████▀ ▓ ▓▀▓ ▒███████▀▀ ▀████████▒ ░████████▀ ▀▀███████░▓▀▓ ■ ░ ▄█░█▀▀▄████▄▓ ▀█▀ █▓░ ▒▓█ ▀█▀ ▄████▄ ▀███▄░ ▄█▀░ ░███▀▀▀███▄ ▀█▒ ██▓ ██ ▓█▀ ▄███▀▀▀███░ ▀█░ █▀ ▓██▓ ▄███ ▀█▓ ████ ▒█▀ ▓███▄ ▓██▓ ▀█▓ █▀ ▓██░ ▒██████▓ ▀█ █▓ █▀ ▓██████▒ ░██▓ ▀█ ▒ ▄██ ░███ ▓███▓ ▀░██░▀ ▓███░ ███ ██▄ ▒ ░█▀ ███ ▄▀ ███▄ ▓████▒ ▄███▀▄ ███ ▀█░ ▓█▀ ▄██▄█▀ ░ ██████████████ ▀█▄ ██▄ ▀█▓ █▀ ████▀█▄▓░▄█ ▀██████▀ █▄▓░▄█▀█▄██ ▀█▓ ░ ▄ ██▀ ▀████▀ ▀█▓▀██ ▀████▀ ▀███ ▄ ▒ █░█▓ ██░ █░ █ ░██ ▀██▒█ ███░ ▒█░ ▄ ▓ ▒ ░█▒ ▓███ ░ ▓██ ░ ██▓ ██░ ░██ █▒ ░ ░█ ▀█ █▀ ▓ ░ ░