EEMYNOR

SIIILK offers music from distant lands, with a soft hovering sound to meditate more than to move, latent and orchestral atmosphere inviting to reverie, the last one wants to prolong this singular musical effect let's slip into it.

"Eemynor, Pt. 1& Pt. 2" for the following soft, soaring atmosphere with the suave voice of Catherine responding to that of Richard; oriental sound with the magnificent guitar in the tradition of a certain David of course. "Signs in the sand, Pt. 1 & 2" follow with a Floydian arpeggio and Richard's melancholic voice in phrasing; a monolithic tune drawn by Gilbert's hot guitar; it is latent, without waves, in a melodic-progressive vein; the oriental ambient break takes us further on a mysterious sound space on the line of a SEVEN REIZH; the acoustic finale lacking in pep to go even further. "Burning Hopes" with a beautiful atmospheric intro, inviting you to daydream; basic melody with Catherine on vocals, tune à la Chris REA where the notes are shelled without background and with repetition, like a mantra.

"Monsoon Lights" drives the musical nail on the Persian direction, Alain using these instruments to good effect; title that pulls the album up showing an innovative clean sound; it's warm, it pleasantly reminds me of Loreena McKENNITT. "Spandam" slide to get the ears afloat; reverberation, a guitar solo that suddenly rips off accompanied by a more present bass and the sound takes on another stratospheric dimension, even if we could have expected even more intensity, my favorite in any case. "Morning Rain" and the return of the guitar arpeggio for an air placed to meditate on an Autumn evening when the night and the humidity arrive; Roland brings sensitivity with his clarinet and brightens up this title, the voices are monolithic so as not to frighten the moment of falling asleep, the stereo finale giving hope for something else. "Song for Syd" with a targeted track oriented PINK FLOYD as on 'Endless Memory'; more progressive, ambient and evolving title where the voice blends better into the notes; Jacques breathes a heavy atmosphere with his keyboards and the slide ends up melting on this hovering and bewitching title. "Number 9" repetitive instrumental, mantranic as end of course with NASA voice- over to extend this meditative page.

SIIILK continues to explore and offer borderline hypnotic melodic atmospheres between his floydian and oriental culture; opus to take in the evening as an infusion to go find Morpheus afterwards, album without wave where the orchestral moments contrast pleasantly, lacking in pep to escape even further; but the goal of this album not being to leave quickly close to oneself without realizing it? I ask myself the question of having had French voices to perhaps leave more easily.