QUARANTE JOURS SUR LE SINAÏ

I heard "Quarante Jours Sur Le Sinaï" and I was stunned. It's a captivating concept album. Roselyn Berthet's voice is exquisiste. This album deserves a try. It won't let you down regardless of the style of prog you like.

Original, dark but with no shadows (of doubt). A fabulous masterpiece from a country where progressive music is being so well treated (Priam, Taal, Sotos, Nebelnest, Syrinx, Thork...). All here is inventive, all here is fascinating. Do you really want to know if there's a future for symphonic prog rock? Well, here it is. Grab it while you can!

In 2003, French prog act NIL released their fine third album, the hypnotic and evocative QUARANTE JOURS LE SINAI (Forty days on the Sinai). This is very professional and varied music -- at times reminiscent of Andy Summers and Robert Fripp's 80s collaborations (the sparkling guitar & stick work brought Summers to mind immediately) -- at others much like a film score. Instrumentation includes fretless bass; Chapman stick (as popularized by Crimson's Tony Levin); some highly accomplished lead guitar that can touch upon the terrains of metal, jazz, and Crimson-esque pure prog within a short span of time; piano and the full gamut of prog keyboards; drums and percussion; and a colourful palette of secondary instruments like flute, harp, cello and sax that nicely fill out the sound, and keep things interesting and dynamic. Add to all the instrumental wizardry some good but sparingly-used male and female vocals (all in French), courtesy of a cadre of fine singers, and you have all that one might wish for in a new "symphonic" prog recording.

In classic prog style, this concept disc is organized into two long "Acts" (or suites), that very convincingly capture the atmosphere of ancient Egypt and the Sinai peninsula. Listening to this excellent music, I leave the frigid, dark days of the looming Canadian winter far behind (or, at least, comfortably outside), and journey to an exotic, mysterious, and sun-blasted ancient land.

Yes, Virginia (or is it Joren?) -- there IS great new original progressive rock. It is alive and well, and currently residing in France -- with extended forays to the Middle East. Take a trip to the sands of the Sinai with NIL today! Highly recommended

This is the band's 2nd full-length album and the one that got them some worldwide recognition in the prog circles as well. It is an album about the Egyptian mythology: an ambitious concept containing two acts and a total of over 60 minutes of music and it manages to keep things interesting the whole time. What I like most about this album, and about this band in general, are the many influences that band has and this makes the music varied. Some styles that can be heard are symphonic, jazz-rock, RIO and even metal. The heavier and calmer sections alternate and float naturally. Despite these many influences the overall feel is still clearly symphonic but it is very unique in this style. In this album there is also lots of Eastern elements because of the concept. The vocals are by female and male guest singers but the music is mostly instrumental. The female singer Roselyne Berthet, who was later to become a permanent member of the band, almost exclusively delivers the vocal parts.

A special mention for an excellent detailed booklet in which the whole concept is written both in French and English!

Conclusion: This is an excellent and rewarding album but still pales in comparison for what was to come.

What an impressive release from the French band NIL. After reviewing the THORK album, i'm starting to believe that the Maurin brothers (the two guitarists) are musical masterminds.THORK is a side project for them that is a little experimental, with an Avant feel to it. Another side project is SYRINX, more dark and atmospheric music. So although this is another dark record there is so much variety on it, from Jazz to Fusion to Avant and even some Metal. And yet this record flows like a river.

There is a real harmony to the record. It's a concept album about Egypt and it's gods, made up of part I (over 36 min.) and part II (over 26 min.). On my stereo it shows 28 songs, and most of them flow into each other with no break in between. Another observation is the instruments used, from mellotron to cello and harp, sax, church organ, clarinet and more. Male and female singers as well, although there is by far more instrumental music than vocals.The joy for me is listening to the lead guitarist David Maurin play. The different styles he plays, the unique sounds, from fiery to angular to scrorching to riffs to acoustic and so on.

Buying this NIL record is a no brainer, there is enough complexity and variety and beauty to keep even the most seasoned progger interested for a long time.

Dreams from the desert

A very deep expanse of sounds. An unfathomably wide open and uncompromising piece of music. Stylish, modern, exploratory progressive rock. "40 Days in the Sinai" is one long dream of 65 minutes divided into but two "acts" as they are denoted, though the disc does chapter them into about 30 short pieces not individually titled. They can sound a bit like Crimson at times, a bit Karcius, Lost World, Gabriel, and at times, Durutti Column. But these are mere suggestions, in reality NIL has produced a work that is quite visionary as it merges themes of past ages with music looking to the future. It's a work that is bold and complex but not quite perfect.

Tracks are often without much traditional structure but grow from moody textures of winding guitar notes, keyboards, or perhaps the harp. Often present is an unpredictable Tony Levin style of bass playing, at times mellow and other times aggressive. Some tracks will be augmented with dreamy and delicate female vocals, others with cello or sudden bursts of raging loud guitar in the surprise manner employed by Discus. There are gorgeous acoustic guitar sections and wistful passages of flute. Track 8 is the first one to mention. After some relatively calm openings, they contrast those notes against bursts of angular near-shred to good effect. Roselyne Berthet's smooth-hazed vocals instantly put you into trance on even the brief track 11, they make me feel like I'm floating on a pool of water. The next track gets quite disturbing with sinister organ over distorted male vocals and electric guitar. Track 16 is one that we stream on the site and is fairly representative of the album, except that most of the tracks do not have the female vocals. So as you listen to it, if it would interest you without the vocals, then it should be a safe bet for you to shell out the money. Track 17 is a favorite of mine, just the distant guitar notes with the wordless ethereal voice and without the constant busy bass. Track 19 features the wonderful harp over serene synthesizer with cello.very lovely.

As fascinating and beautiful as this work often is there is definitely something missing for me on the emotional level. It earns 3 stars immediately for being bold and intricate, but I can't give it more stars because it is one of those many albums that I love with my head but not with my heart. My head may do cartwheels over the many technically astounding parts but my heart is somewhat indifferent to the album as a whole. Nevertheless I do recommend this fine work to anyone interesting in quality modern prog. Unicorn did a very nice job with the artwork, providing a brief foldout booklet with a thicker lyrics book in English and French.

''The day it is born to eternity is a beautiful day... [Book of the Aegyptian Dead]

NIL is a very highly, I mean VERY HIGHLY talented group from France, who's ambitiousness, perfectionism and talent could be described for example via the song in their first self produced record: There's a track Nogegon that is a palindromic song both in lyrical and in musical way; it took two years to complete it, they say! As their debut is a bit harsh especially in vocal parts, that are fortunalely few, the quality and brilliance in compositions and playing push strongly through making you certain that here's a band to expect something great to come. And that's for sure, because in their third record there's not a slighest hint of that harshness anymore, the vocals are in highest order now, and the band has matured into a full blossom! This album is a true and rare Masterpiece, one of a kind in progressive music!

Now I'm about to review this Stunning record and it should be done as proper way as this beautiful music deserves, but forgive me for my words will not do the justice - anyhow, I'll do what I can... Quarante jours sur le Sinai is actually a live album even if it's impossible to recognize as one. It was recorded live over two years between september 1999 and september 2001 including church organs recorded at st Pierre's cathedral in Annecy. Besides the band members, the group consisted of several additional musicians - including the forthcoming band member Roselyne Berthet - no wonder why they took her as a full time member because of her magnificent dark and beautiful soprano voice.

''The desire for perfection is that desire which always makes every pleasure appear incomplete, for there is no joy or pleasure so great in this life that it can quench the thirst in our soul'' [Dante]

I wonder if Nil feels pleasure from this piece of perfect work? And yes, it is perfect. I cannot name a single thing they've should done differently. The album is a thematic tale from the ancient Sinai and the lyrics and the story is based mostly on ancient texts like Dante, Plato, Bible, some papyrus and so on, that are all written up and there's even a bibliography of them. And the tale is more like a collection of minor tales and wisdoms than a story of forty days. Well, lyrics may appear incomplete in English - a lots of stuff written in French is missing from the English translation. A pages of lyrics exist, but they are not sung. Berthet sings only some verses from here and there and it accomplishes the mysticism of the tale - it's nice to read pieces from it, but I really don't mind not to get it completely.

Quarante jours sur le Sinai is not only a theme album but a theme song, consisting of two acts creating together an hour of total pleasure. The main musical theme of the album, telling the ancient tale from Sinai, is somehow always constant and present, while the texture is wild and changing. The Egyptian, or Arabic influences can be heard throughout this album, but it's more like a flavor than a subject. The music is carried on mainly with a beautiful quitar picking of David, stretched and very moody fretless bass / stick of Samuel, spacey keyboard playing of Benjamin and very accurate percussion of Frank added with some extra instruments. It's mostly instrumental, but Roselyne joins in with her beautiful vocals occationally, sometimes adding only ethereal background voices. The group plays together amazingly well and the composition is superb, which can be heard from perfect passages that are numerous.

''I am all that Hath been, Is and Shall be, and my Veil, no mortal hathever yet uncovered'' [Plutarch]

The word is ''developing''. Quarante jours Sur Le Sinai is a continuous flow of pleasure, made from intelligent pieces and parts that come and go and joins together in a manner hard to comprehend. One cannot tell how the music changes and develops, it just does and it does it all the time. This is Sneaky! I have ever never heard so smooth and stealthy changes - after this you can point another view for those! So, if you're listening to 43'00 or 06'35 you can instantly tell they're strongly connented to each other, but you cannot tell what's the similarity! And that's amazing! How in hell they can play it live, remember the whole thing? And This Is Not Just About Jamming, It's something brilliant my brains fancy about! An ever demanding piece of puzzle, impossible to solve, that's NIL!

Now what it comes to individual parts... If you're expecting fast solos, guitar heroism and things like that, you're in a totally wrong place! Here you get some stunning interplay, co-play, not even forgetting brilliant individuals of picking of bass, guitars, drums or vocals, but their purpose, the thing is All for one, one for all. Here you can hear the utter commitment to the music they play, the music is not for them, but they are for the music! All my respect to this brilliant group for that! But Oh Boy, how well this all are performed! The base is the very impressive bass playing using fretless bass and stick and I believe there's quite some overlayed bass lines there. the border between the bass being a base, rhythmic or solo instrument is blurred and sometimes it's being played like it was a mellotron! Actually all the instruments are used in the same very variable and creative way and always elegantly and style - including Berthet on vocals that goes from fast speaking parts to high operatic soprano vocalese.

''In the world of magic, it was believed that the representation of an object or of a being could easily be brought to life if the name of the object or being in question was used properly'' [Enel]

Well Quarante Jours is alive already! You may think that a song one hour long might be dull, but you wouldn't be more wrong, for it's so complex, offering details, small and big in quite a many level, you just cannot get used to it - It sounds new and fresh after years of listening - and that's a relief and a banner forever! This is no easy music: If you'll purchase this album, don't expect you'll like it right away! It first may sound only 'promising' and it will get quite some spins to get into. For NIL has created a perfect combination of complexity, fusion, rio and avant prog... metal, ethno, classical music with all the soprano works and chamber... and their main influences are... Oh, well, maybe there's no actually main influences and maybe I even cannot name the genre of this music because it's truly original, but complex and unpopular it is, that's for sure.

This is probably the Best Progressive Rock Album Ever Recorded! This is one of my most played album ever and there's no signs of boredom yet - just the opposite: After a thousand times of hearing I cannot write a proper review of it, there's still a lot to explore in Sinai, it's such a big place - What more a progger like me can ever hope for?

Originally released in 2002, this album has now been reissued by Unicorn due to the response that the band have had to their recent release on the label, 'Nil Novo Sub Sole'. As can be guessed form the title, this is a concept album, here comprising two tracks of more than thirty minutes long. All of the lyrics are in French but there is a very good booklet which provides lots of information in English. I have tried to get on with this album, but even though I have played it quite a few times, and am impressed with some of the instrumental sections , find that it is just too long and meandering. It never seems to be getting anywhere and although there is no doubting the skill of those involved there is the feeling that if they had stuck to shorter songs with more of a sense of direction then the end result would have been much better. Not one to which I will readily be returning. www.unicorndigital.com

Nil were found in mid-90's in Annecy, France by guitarist David Maurin and drummer Julien Paget, joined soon by Samuel Maurin on bass and Benjamin Croizy on keyboards.When Paget left, Frank Niebel joined in and the new line-up recorded two very rare self-produced albums, ''Bruismes'' from 98' and the EP ''Nocturnes'' from 99', at a time when the group was searching its own identity.By the start of the millenium they decided to collaborate with female singer Roselyne Berthet and along with several guest musicians and singers they recorded the album ''Quarante jours sur le Sinaï'', released in 2002.

In an act of great confidence and self-belief the French group offered two very long, epic tracks in this album, the 36-min. ''Acte I'' and its following 26-min. ''Acte II''.Both tracks are extremely tight and coherent with no particular dead holes and are great examples of dark, atmospheric Progressive Rock with strong hints from Orchestral and Soundtrack Music next to the standard Classical and jazzy inspirations, with enough complexity but also some very ethereal passages as well.Maybe you should imagine a cross between KING CRIMSON, WOBBLER and SEVEN REIZH to get an idea of how this album sounds, but again some very careful listenings is what is recommended to fully appreciate this style of playing.The album is characterized by some extemely complex guitar parts with a sinister touch, haunting Mellotron waves next to some edgy and nervous electronics and church-styled organs and a very solid rhythm section.This combination delivers very complicated themes, alternating between hypnotic grooves and loose performances, but there are also enough breaks to be found that lead to series of dreamy textures.The later are based on Berthet's superb, crystal-clear voice and the intelligent use of synthesizers, while parts of them even contain some beatiful melodies and delicate orchestrations.This amalgam of diverse themes works very nice and the album flows extremely well with no evident interruptions between the amount of short tracks, of which the two epics are composed.

Nice and recommended example of deeply atmospheric Progressive Rock with a variety of influences and soundscapes, starting from cinematic offerings and ending up in symphonic or jazzy arrangements.Great stuff...3.5 stars.

Mostly because of the density of this album's two songs, each covering over 26 minutes, It has been a real struggle for me to get to know this amazing album. (I've owned it for over 15 years! I just never sat with it with my undivided attention like I did, finally, today.) My overwhelming response is that progressive rock music does not get better than this--in fact, has never been better than this; this is precisely the raison d'etre for a category of music we call "progressive rock" to exist: for the cinematic/theatric musical expression of BIG human themes.

The musical composition(s), instrumental performances, and sound production of this album, start to finish, are of the absolute highest quality. The confident use of melody and dissonance, virtuosic displays of instrumental prowess contrasted with passages of spacious simplicity shows, to me, that these band members are true masters of their craft.

Without hesitation this is a five star masterpiece of progressive rock music.

This one's a real grower for me. This appears to be their third album, hard telling. What I do know is Quarante Jours sur le Sinai (40 Years in the Sinai) is a concept album on Egyptian mythology, not exactly new to prog. The CD was originally released in 2002 on the band's own label, then in Canada on Unicorn Digital in 2006. It's likely the Unicorn reissue that people even had any familiarity of the band. When I first hear this, I was thinking this had some really nice individual parts, and parts I didn't quite grasp. It was so long, over an hour long, and not divided into songs, but really two acts that on the CD is divided into 29 parts. I hear elements of King Crimson, but not a whole lot of the '70 French prog scene. At times the band can be pretty mellow, then suddendly burst into short metal madness before going back into something more calm. I've heard comparisons to Anglagard, which might not be the most useful, but like them, they play one thing, quickly move on to the next, occasionally return to an earlier theme. The keyboard playing is usually low-key with synths and a small amount of Mellotron, while guitar, fretless bass and drums more dominate. The occasional female vocals (in French) really give a nice touch. Some passages have that ominous feel to it that I really like. This is contemporary prog at its finest. I like how it never slips into neo-prog, nor do they sound like a '70s throwback.

I'm really glad to discover Nil. I look forward to getting their other CDs. The only thing preventing a five star rating is it's so long that it really required a few listens for me to get it, but once I did, I realized why many have been raving over it. You really do owe it to yourself to get this CD.

Nil is a very interesting French prog affair from late 1990s - mid 2000s, an excellent example (e pluribus unum) of Crimsonian progressive with a spectrum of sources and predecessors much wider than King Crimson. Quarante Jours Sur Le Sinai clearly shows influences from the classic French prog school, first of all from Arachnoid, Shylock and Carpe Diem, much less from Acintya and perhaps early Pulsar. From the newer French prog scene, the most obvious are the influence of Michel Altmayer, Shub Niggurath and (in melody making techniques) Halloween. Echoes of early Runaway Totem (circa Zed) and even Dead Can Dance may also be heard. But most of all, Nil is Nil. As Mandelshtam said, 'the entire ship is knocked up of somebody else's timber but has its own state'. The album has an intricate structure, it is divided into 8 chapters with two intros, prologue and epilogue, and each chapter is in its turn divided into a few short tracks, so 29 tracks in total, but they follow with no pause and are taken as one giant epic, one musical drama if you like, so the track list seems null and void, all the more that sometimes a musical change does not correspond with the next track start.