DIURNAL

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

"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).

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.