THE LIGHTMAKER

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

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

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

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