The Genius of the Maurin Brothers, Samuel and David

What do you know about the Maurin Brothers?

I've just today discovered that Annecy's Samuel & David Maurin founded three bands at the end of the 20th Century, NIL in 1997, THORK in 1998, and SYRINX in 1999, all of which have been received and celebrated in Prog World by a small number of music lovers. The interesting thing is that each band was created to express a different aspect of the Maurin Brothers' unique perspectives on three different sub-genres of progressive rock music: Nil to explore the "Eclectic" sub-genre; Thork to explore modern "Prog Folk"; and Syrinx to satisfy their "Jazz-Rock Fusion" fantasies. Remarkable, no?

How many of you knew that these three bands were the creations (at least partially) of one pair of brothers?

Does anybody have any more in-depth sources of information on the Maurin Brothers?

Does anybody know what the brothers have been doing since 2009 when their last albums came out (Syrinx)?

NIL Nil (1999)

Line-up / Musicians:
- David Maurin / guitars, flute, vocals
- Benjamin Croizy / keyboards
- Samuel Maurin / basses
- Frank Niebel / drums
With:
- Jean-Luc Ferreira / flute
- Marion De Saint Vaast / vocals
- Jean-Michel Gaude / vocals

1. "La misère "(11:27)
2. "First passage" (9:01)
3. "3 stigmata ... " 9:41)
4. "Bön-Glå-Glön" (14:23)
5. "Inner Mazed" (6:53)
6. "Nogegon" (8:22)

Total Time: 61:01

on the Fishscales = / stars;

THORK Undoxa (2000)

The debut album from Annecy's Maurin Brothers, Samuel and David. Often bass-centric and filled with dramatic vocal storytelling throughout, there is definitely a strong air of operatic prog throughout.

Line-up / Musicians:

- Antoine Auresche / guitar, vocals

- Sébastien Fillion / keyboards

- Claire Northey / violin

- Samuel Maurin / bass

- Michel Lebeau / drums

With:

- Audrey Casella / vocals

- David Maurin / guitar

1. "Tædium Vitæ" (16:30) hard rock Celtic music? The long suite amounts to something quite operatic in a SEVEN REIZH kind of way (despite there being only one main singer--Antoine Auresche). There are several totally separate motifs and movements within but they all seem to tie together within the "Tædium Vitæ" storyline and keep coming back to Celtic themes and instrumentation (especially the fiddle/violin). Samuel Maurin's deep-throbbing bass is quite distinctive yet also giving us a preview of the NIL sounds to come in the near future. Interesting if not thoroughly compelling. (26.5/30)

2. "Arche d'ebène" (8:50) though still infused by violin, there is a more insistent and noirish feel to this song The effect of Sébastien Fillion's cheesy church organ as well as Sébastien's saw synth are equally curious--adding to the eeriness of the song. Effective but not quite as memorable as the Nil stuff Sam and Dave will be doing soon. (17.5/20)

3. "Goupilette" (1:45) an electric guitar solo that sounds like something from the library of Classical music pieces. Sounds a bit weird with the electronic sounds/effects. (4.375/5)

4. "L'enlèvement de psyché" (16:00) synthesized guitar with a foreboding heaviness turns in the third minute into something more akin to the Pagan Folk music of German band FAUN. Even Antoine's singing voice might double for that of Oliver "Sa Tyr" Pade. Female vocalist Audrey Casella helps out with her pleasant style and we find Seb using his eerie Nemo-organ again (here referring to the crazed sea captain, not the French prog band). As with the album's opening song, there are a lot of completely different stand-alone movements in this suite, each adding its own "chapter" to the story as arias and movements do to any opera or stage musical. Some of the softer, more spacious themes (especially the piano/keyboard dominated ones) are quite lovely--and very effective, whereas the guitar and synth-saw filled ones can be a bit grating (like some of DAAL's motifs). Despite the back-and-forth play of contrasting motifs, this is probably my favorite song on the album. (26.875/30)

5. "Danse de la lune" (1:40) a solo from keyboardist Sébastien Fillion, here employing organ and keyboard synth chords interchanged and interlaced while waves of crashing cymbals rise and fall (these latter may be synthesizer generated). (4.5/5)

6. "Exil" (10:00) arpeggiated electric guitar chords with Antoine's solo voce occupy the first two minutes of this. At the two minute mark the music shifts into full band, then, around the three minute mark everything shifts into a very NIL/XII ALFONSO-feeling motif. Violin and synths take turns with keyboard chord fills over the drums and chunky bass before electric guitar wails and then, stop! We're back to the opening guitar-and-solo-voce motif (to which Samuel and Claire add their gentle magic). Like many of the songs from DAvide Guidano and ALfio Costa (DAAL), this song shifts back and forth time after time--kind of like Dr. Jeckyll and Mr. Hyde going through a real bender. It's good, with solid musicianship throughout; I just don't always like this style of music construction. (17.625/20)

7. "Danse du soleil" (2:40) a whole-band expression that has everybody firing on all cylinders, even embellishing and improvising a bit. Fun, upbeat song. (Must've been fun for the band to play.) (9.25/10)

8. "Requiem" (10:50) a single synth was chord slow-builds and then decays before Seb and his arpeggiated electric guitar chords start the song out, filling the opening 90 seconds before the guitar chords shift into upper registers and tom-tom hits and thrumming bass notes join in. At the 2:15 mark all of this shifts with the introduction of some electric guitar power chords, but then we quickly fall back into the previous motif of upper-range guitar arpeggi. This back and forth becomes a pattern until the fourth minute when the heavier theme morphs into forward motion with big synth chord hits and powerful drums and bass. This new theme now alternates with quieter passages to support Seb's rather dichotomous calm, quiet, even "gentle," vocals. Dream-like sequence occupies the middle from about 4:45 to 6:10 when choir swells and church organ signal the introduction of a new bass-and-drum-driven gentle motif within which Seb's heavily-effected voice sings plaintively. More bombastic power swells offset quieter sections that contain things like emotional violin riffs and Seb's vocal pleadings. Around the nine minute mark electric piano chords slowly march toward the horizon as the last of Seb's weak pleadings sound and fade. The bombastic power motif then finishes the song with some big Keith Emerson/ELP energy. Nice! Nicely done! (18/20)

Total Time: 68:15

The theatric and often cinematic music presented here is very much in the vein of the French progressive rock bands of the 1970s like Ange, Pulsar, Mona Lisa and even Magma and Clearlight (and, believe it or not, Anthony Phillips!) as well as modern French bands like XII Alfonso, Seven Reizh, Nemo, Taal, and Minimum Vital. The music is quite adventurous, quite dynamic, constantly shifting; one might even call it melodramatic or prog operatic. My only criticisms is that it does often feel a bit simplistic and what might be called immature (though perhaps "pre-mature" would be a better term). Great prog drama if that's the kind of thing you're looking for.

89.02 on the Fishscales = B/four stars; an excellent debut of highly-theatric "dark" prog--something that prepares us for the more mature, more sophisticated prog of future releases from both Thork and Nil (and Syrinx).

NIL Quarante jours sur le Sinaï (2002)

Line-up / Musicians:
- David Maurin / prepared guitars, flute, bass clarinet, gong
- Benjamin Croizy / synthesizer, Mellotron, church organ (St Pierre Cathedral, Annecy), Hammond, piano, MS-20, timpani
- Samuel Maurin / bass, Chapman Stick, vocals
- Frank Niebel / drums, percussion
With:
- Anne Cayrol / cello
- Hervé Franconi / soprano saxophone
- François Pernel / harp
- Roselyne Berthet / vocals, ethereal voices
- Eric Vedovati / vocals
- Samy Cyr / ethereal voices
- Audrey Casella / narrator

1. "Act I" (36:16)

2. "Act II" (26:42)

Total Time 62:58

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.

93.33 on the Fishscales = A/five stars; a major masterpiece of progressive rock music and my Album of The Year for 2003.

SYRINX Reification

The first expression from the Maurin Brothers (plus Benjamin Croizy) as Syrinx, the media have assigned this band and its work to the Jazz-Rock Fusion subgenre but I have trouble with that  assignation due to all of the folk/acoustic work (David Maurin's contributions to the quartet are coming exclusively from an acoustic guitar) and Benjamin's proggy synth work--even many of the melodies injected into the songs feel far more proggy--or are delivered by instruments that the educated listener would consider more proggy--than what one might expect from any Jazz-Rock Fusion band. Perhaps the assignation came due to the music's sophistication and lack of vocals.

Line-up / Musicians:
- David Maurin / acoustic guitar
- Benjamin Croizy / keyboards
- Samuel Maurin / bass
- Philippe Maullet / drums

1. "Reification" (16:57) a long, proggy suite that definitely feels more aligned with prog's eclectic or crossover sub-genres than Jazz-Rock Fusion. Philippe Maullet's drumming becomes quite impressive in the Änglagård-like fifth and sixth minutes, but then we're slowed down to a cautious pace within which Benjamin uses an Ozric Tentacles-like bird-synth sound to cast talk-like arpeggi over the rest of the music. This lasts a while with Samuel Maurin becoming a bit more active with his fretless-sounding and ChapmanStick-sounding bass. Then the band falls into a pattern of alternating gentle arpeggiated acoustic guitar chord-centered theme with a more dynamic bass-and-drum-amped motif for the next couple of minutes before everybody pauses except for Benjamin Croizy's pattern of synth wash chords. The new motif that is next started has a very pretty smooth jazz feel to it as David and Samuel play off one another and Philippe supports the two with exquisite drumming. What a cool motif! All too brief! At the end of the 13th minute the band ramps back up into a more aggressive though still-upbeat motif and then starts alternating it with the pretty "smooth jazz" motif we heard before. Here both Benjamin and Samuel take it upon themselves to go into some improvisational soloing--at the same time! And it works! Both are awesome, even in "competition" with each other. Samuel maintains the solo mode much longer than Ben, eventually being faded out while Ben's dreamy synth washes carry us to the  playing the song's true, final fadeout ending. Great opener! (32.625/35)

2. "Emanescence" (8:35) a song that feels far closer to the NIL world despite the infusion of Ozric Tentacles-like "world music" sounds from Benjamin's synths. There is definitely a Crimsonian dark eclecticism and near-Math Rock feel to much of this music. A spacey interlude is positioned in around the four minute mark to give the listener a pause--to look around, I suppose--but then the full Math Rock motif is brought back and eventually speed-shifted up a notch or two for the next minute before the band falls into one of the Maurin brothers' signature patterns: that of alternative two motifs, usually one gentler and more spacious with one that is more aggressive and Crimsonian--only this time they've shown that they've matured--that they've learned from their previous albums (Nil and Thork's debuts) where they used to beat those alternating hard-and-soft motifs to death before giving way to something else. Here the yin-yang yo-yo is discontinued within a minute of its inception. The motif that finishes off the song (covering the final two-plus minutes) actually sees the introduction of a bunch of sounds that sound very much like the music that STEPHAN THELEN (SONAR) and DAVID TORN have been making together since 2017. I want more of this! (18/20)

3. "The Twentieth Circle" (7:34) here is a song that seems to be trying to figure out whether or not it wants to express a happy, optimistic perspective or one of sad resignation as the two dominating chords seem to alternate in equal proportion, back and forth, throughout the song while Benjamin's right hand and David's acoustic guitar try to help convince the Entity (is it a singular being or a collective?) to make a choice: to decide one way or the other. But then, suddenly in the middle of the seventh minute, the music stops and the band seems to come racing out of the cave of ambivalence into an assertive, action-filled motif reminiscent of  Great song. Well done, Syrinx! (14/15)

4. "Orbis Ubique" (14:43) for the opening motifs of this song David's near-Spanish/Flamenco-style acoustic guitar play steps into the leadership role--a very cool motif. Then, near the three-minute mark, David steps back, into a supporting role with some finger-picking, while Benjamin's organ and drummer Philippe Maullet's cymbal play carry the music forward. At the very end of the sixth minute another transition occurs, leaving us with a more-proggy motif that is driven by some awesome Bill Bruford-like drumming. Once a full band accord has been reached we find ourselves amidst the first truly Jazz-Rock Fusion motif of the album: with David's acoustic guitar playing some strums, riffs, and chord progressions (in tandem with brother Samuel's awesome bass echoes) that feel right in line with bands like Echolyn, Djam Karet, On The Virg, and all that the Coniguliaro brothers contribute to. Acoustic guitar, bass, and organ interplay, occasionally rearing one head to try some ascendency but usually falling back into a whole-band weave. I'm loving this! Then in the ninth minute the band slips back into a patient display of interwoven synth, acoustic guitar, and bass while Philippe expresses his own feelings through some more nice syncopated drumming. There several times over the motif switches in the last five minutes that I am reminded of Andrew Marshall's WILLOWGLASS project, but more, I find myself quite happy hearing such Bruford-like drumming. (27.75/30)

5. "The Hypostasis of the Archons" (7:00) the opening two minutes of this song seem to take the conflict between ambivalent ambiguity to another level as David guitar and Benjamin's keyboard work present two very different themes--as if to present two very different, two seemingly oppositional worldviews. The third minute sees the band joining in, drums and bass seeming to support dialogue, kind of arbitrating for civility, turn-taking, and other marks of open negotiations. I love the feel of what is being expressed (and accomplished) here: there may not be resolution of their differences but we are being left with a sense of respectful open-mindedness and awareness and consideration of the feelings and thoughts of others. (13.5/15)

Total Time: 54:49

With my third run through this album I've discovered many of the gems and jewels imbedded within along with the fabulosities that were evident upon first visit. I am now very pleased to remark upon the Maurin brother's wonderful growth and maturification since those first two albums (released in 1999 and 2000). 

91.20 on the Fishscales = A-/five stars; a minor masterpiece that has me thinking very much of my delightful discovery of Beardfish's amazing Destined Solitaire--an album that continues to grow on me and reveal new and surprising treasures with every listen. While I do believe that Reification might be better labeled "eclectic" or perhaps even "crossover" instead of Jazz-Rock Fusion, it is a great album--and the launch of a great new (though, sadly, short-lived) venture for the boys from Annecy.

THORK We Ila (2004)

Nil's Maurin brothers' side project (or was Nil their side project?) come together with a large ensemble of collaborators to create some of the most difficult to describe music in the entire prog lexicon with this, their second album.

Line-up / Musicians:
- Sébastien Penel / vocals
- David Maurin / guitar, flute
- Sébastien Fillion / synths, piano, Fender Rhodes, programming
- Claire Northey / violin
- Samuel Maurin / bass, Chapman Stick
- Michel Lebeau / drums
With:
- Roselyne Berthet / vocals
- Antoine Auresche / acoustic guitar
- Sébastien Lacroix / sitar, dilruba
- Ian-Elfinn Rosiu / cello
- Renaud Burdin / dununs, djembé, güiro, bells
- Stéphane Lagarde / tablas

1. "L'origine" (11:40) sounding very much like a NIL song, this one opens up heavily before settling into a calm weave over which Sébastien Penel sings. The folk-ish instruments are interspersed within the heavy, almost metal musical soundscape--which only ramps up with a chorus. So many instruments! And only the cymbals and repetitive bass line to keep everything moving at a regulated pace. Big pause at 4:50 in which Sébastien moves into an operatic tenor for a powerful, theatric declaration. Lead guitar and cello bring us out of the stark stagecraft, helping to initiate a return to progginess--though it's still quite theatric in a kind of 1980s hair band (or NINE STONES CLOSE) kind of way. At 7:45 fast piano arpeggi rise out from the background to usher in a more tense passage of MYSTERY-like music. Switch to cello and jazzy support at 9:30 as Séb continues his Marc Atkinson-like performance. Excellent song--full of proggy unpredictability. (18.5/20)

 
2. "Délectable ennui" (9:07) again, the bass, guitar, mood, and rhythms of this sons feel quite like those of NIL sauf the at-times-dominating presence of Sébastien Fillion's keyboards and many incidental instruments representing many cultures of the World Music scene. Great guitar solo in the speeded up eighth minute which is then followed by a slowed down section in which droning cello is overwhelmed by kicking and screaming violin. (17.75/20)

3. "Errance" (1:07) like a little operatic interlude with Sébastien Penel singing in a That Joe Payne kind of way over some dissonant electric guitar picking. (4.25/5)

4. "Ea" (21:18) a very dark, plodding song with lots of avant garde and classical leanings. Seebastien Penel's theatric performance is quite dominating and diabolical. The music is quite intricate, spacious, and, again, avant classical in its derivations but turns toward a more funky Zeuhlish jazz-rock in the seventh minute as choral vocals pepper the background over the angular music. In the ninth minute Samuel's ChapmanStick and Michel Lebeau's bass drum mirror each other with a syncopated staccato pattern over which synths and Sébastien (and a little vocalise of Roselyne Berthet) Penel populate. The screaming guitar soloing in the 13th and 14th minutes are quite Fripp-like but then are then followed by some gorgeously pacifying violin play. This beautiful passage is then ended in the 17th minute with a propulsion into some high octane playing which is then culminated with Sébastien's reaching voice and every body playing very loudly. This then slowly decays into a beautiful almost waltz-like spacious strings-dominated section until we are left with a simple weave of bass notes and guitar arpeggi. What a ride! I'll have to listen to this another half dozen times in order to make sense of it all. (36/40)

5. "Errances" (1:04) another interlude of dissonant notes and chords, this time coming from effected electric guitar and synth strings and synth voices. (4.25/5)

6. "Danse de la terre" (10:48) deep bass thrum with synth percussion and synth cello with Aftrican hand instruments rising from beneath. Beautiful violin play within the African mood music gives this a kind of Cirque du Soleil kind of feel--until the two-minute mark when tuned percussion arpeggi pave the way for more NIL-like music with rockin' lead guitar playing over the top. Nice music. Nice soloing with some Steve Hackett-like moments. At the end of the fourth minute we shift into a faster gear while Sébastien Fillion displays his synth soloing skills. But the we are quickly broght back to a slow crawl while slow guitar arpeggi, mulitple vocalise tracks from Roselyne Berthet and rolling bass and swing drums carry us into a forest of faery magic. in the eighth minute we are brought to a complete standstill as an ominous synth chord conjures up the feeling of the presence of some mysterious shadow beast. We turn to run away with a furious display of jazz-rock fusion which somehow turns into Genesis instrumentalism at its finest. Wow! Another incredible journey! (19/20)

7. "Immanence" (11:26) opens with Asiatic stringed instrument and hand shakers before talking drum and sitar take over. All of the aforementioned World instruments congeal with a tabla as fretless bass and flute join in. Tribal chant voices seem to come out of some stringed instrument for a bit before the drums rhythm switches while cello and Tony Levin-like ChapmanStick display take the front. Impressive! In the fifth minute, strings synth and other keyboard sounds enter and take over, making the song turn a corner into an exposition of full on Arabian prog rock. Then, in the sixth minute, a lone Magma-like Fender Rhodes takes over while Sébastien Penel's effected voice sings plaintively over the top. Séb's plea made, we drop into a dreamy keyboard electronica soundscape in which Fender Rhodes and flute gently massage our ears and minds. At the end of the tenth minute we revert into an African-like tribal motif with tribal choral vocals before the fretless and Fender let Séb take us back into his pleading keening world. Hauntingly distorted solo electric guitar is echoed in a cave-like vacuum before drums and band rejoin to take us into the wild finale. Such is the unpredicatbility of life in the "Third World." So powerful! (19.5/20)

Total Time 66:30

Because of my previous exposure to the more atmospheric (and, at times, pretty) follow up to this album--2006's The music of We ila is far heavier, far darker and more avant garde than I was expecting.

91.73 on the Fishscales = A-/five stars; a minor masterpiece of eclectic dark avant progressive rock music. 

12/11/22: With this new posting of an older album that I've finally completed a review for we have a new Album of the Year for 2004! (In the end, a Top Five Album for 2004.)

NIL Nil Novo Sol (2005)

This is an album I've just stumbled upon and absolutely blown away by! Having just read all of the reviewers above, I have nothing really new to add except for "ditto" to all of the kudos and superlatives lavished upon this group--and that I agree: there really is no one else out there that this is really like (though there are obvious KING CRIMSON influences). Amazing song writing, amazing performances and virtuoso instrument playing and singing! I am especially fond of the two longest pieces, "Le Guardien" "Dérégénération," but find myself playing over and over the last song, "Dérives," cuz it reminds me so of KC's amazing skill and discipline as displayed on their "Discipline" LP.

1. "Le Guardien" (20:16) is a prog masterpiece that uses the extraordinary voice of Roselyne Berthet as another key instrument in the magical weave. This song surpasses any and all standards I've held prog rock to before. (38/40)

2. "Linceul" (3:23) is a haunting, beautiful, theatric song in which Roselyne Berthet's beautiful voice is accompanied by only a very slow synthesizer arpeggio from the lower (bass) registers and, later, single notes from the upper octaves of a piano and synthesizer. This song feels to me like the 'calm between the storms' or the 'eye of the hurricane.' (10/10)

3. "Dérégénération" (14:30) is an instrumental that masterfully weaves together the sensitive and virtuoso play of the four instrumentalists. The electric guitars vacillate between sounding like Robert Fripp's edgiest to Steve Howe's shredderest. The drums are BRUFORDish, The Chapman stick is barely treated and, thus, sometimes shallow--could be 'fatter'--but always the most melodic and anchoring sound.  The keyboard playing and sound choices are unusual and multiferous, with an almost-church-like organ being the only constant. An awesome song that grows on you with repeated listenings. (27.5/30)

4. "198" (8:40) is another instrumental founded on a treated guitar arpeggio and, then, a rather banal drum-supported keyboard arpeggio, but actually only hits full stride and once the keyboard riff is shed. The song, however, never really seems to be able to fully climb out of its kind of standard metal format--in fact, sounds as if it could be a RIVERSIDE or AYREON song. (15.5/20)

5. "Abandon" (8:10) sees the band returning to its own form: odd, shifting time signatures, alternating spaciousness with KING CRIMSON-like moments of frenzy and dissonance--and the return of vocals--though the vocals here are less like the band's fifth instrument and more like the French torch song singer's lyrical display. Wonderful singing and theatric presentation--not unlike some WITHIN TEMPTATION, EPICA, or NIGHTWISH song presentations. It makes me want to listen and figure out what she's singing about. The song has a lot of timing, tempo, and dynamic shifts and strangely benefits from the central section's "Exoricist"-like piano arpeggio and odd/eerie keyboard sounds. The intended overall effect is somewhat lost on me, but who cares! I just love listening to all of the many layers of interesting sounds and riffs. Great prog dénouement/ending! (12.75/15)

6. "Dérives" (6:04) like an ANEKDOTEN song, is not the most exciting musical journey, but can be extremely rewarding if one pays attention to all of its subtleties. The beautiful bass melody and keyboard washes begin to carry you away as you listen to all of the subtle nuances and flourishes occurring over the top. And then bang! It's over and you're mystierously left with the last minute of in which Roselyne's voice seems to be washing you off. "Donnes-moi"! I just play this song over and over and over! What a trip! (10/10)

93.0 on the Fish scales = A/five stars for this masterpiece of progressive music. In my opinion, this is one of the most remarkable album releases of the 21st Century--one of my Top Five Albums of 2005. More music like this, please! More, more, MORE!

THORK Nula Jedan

An album from the French mood-masters who created the band NIL, the leadership of the brothers MAURIN (one of which has by this album left the project) have given way to that of Sebastien FILLION (with the help of brother/cellist Arnaud) to produce this enigmatic collection of hard-to-describe songs. The music is modern, perhaps "ahead of its time" in its odd, sometimes ethereal, sometimes jazzy sounds and passages. It can thus be said with some confidence that this is truly progressive rock music as its songs take the listener to places and in directions that you have likely never travelled before. While listening through this album I find myself reminded at times of DEAD CAN DANCE, FIELDS OF THE NEPHILIM, AKT, STING, LUNATIC SOUL, STEVE JANSEN and, of course, NIL.

Line-up / Musicians:

- Sébastien Fillion / vocals, guitar, bass, synths, piano, Fender Rhodes, programming, whistles, glockenspiel, percussion 

- Arnaud Fillion / cello, oud 

- Claire Northey / violin 

- Samuel Maurin / bass, fretless bass (8) 

- Philippe Maullet / drums, percussion (1,8) 

With: 

- Violette Corroyer / backing vocals (1,3,8) 

- Hugo Quillet / trumpet & flugelhorn (6,8) 

- Jérôme Blanc / trombone (6,8)

1. "Ex-Slave" (12:47) (24/25)

2. "Ici" (5:36) (8.5/10)

3. "La Lumière" (9:10) incredible blend of gentle approaches from voice, percussion, bass, background vocals, oud, strings, keys, even drums--all topped off with an awesome electric guitar solo in the second half. (19/20)

4. "J'aurais Pu" (4:37) wonderfully deep LUNATIC SOUL-like atmospherics with vocoder-treated voice. (8.5/10)

5. "Danse Des Airs" (6:20) gorgeous intro with keyboard weave and then powerful entry of bass and rest of band. Even the jazzier third section fits and retains the engaging beauty and allure. (9.5/10)

6. "Au Ciel" (7:09) awesome ethereal vocal from Sébastion Fillion over shape-shifting strings weave. (14/15)

7. "Revoir" (7:51) (13/15)

8. "01" (8:13) (12.5/15)

9. "Ces Rêves-là" (4:22) (7.75/10)

Total Time: 66:05

90.19 on the Fish scales. A refreshingly original musical journey--with amazing sound engineering. One of my Top 10 Albums for 2007.

SYRINX Qualia (2008)

Another one of the Maurin brothers' musical projects (to go with THORK and NIL), this album presents some very nice instrumental jazz-rock fusion from France, replete with church organ, woodwinds and power chords. 

Line-up / Musicians:
- David Maurin / acoustic guitar
- Benjamin Croizy / keyboards
- Samuel Maurin / bass
- Philippe Maullet / drums

1. "Liber Nonacris" (19:38) very proggy, even, at times, prog folkie, despite its jazz and avant baseline. (36/40)

2. "Acheiropoiètes" (8:40) more brooding over the first three minutes but then it becomes quite cinematic when the full band kicks into a cohesive in the fourth minute. In the fifth minute another turn is taken--as if running away and then slipping into a doorwell to hide from some pursuer. Very cool and effect journey-making. (18/20)

3." Le Grand Dieu Pan" (14:45) despite a slow, spacious start, this one turns into a kind of NIL/GENESIS blend. Quite satisfying. (27/30)

4. "Le Vingt-et-unième Cercle" (5:45) quite a different opening as it sounds like a NeoProg ballad for the first minute--until the change into a minor key sets up a more complex story to be told. The acoustic guitars add so much with that symphonic folk element: very welcomed! With 90 seconds left we are treated to a chorus of angelic female vocalists singing some "Ahhs". More of this would have been nice! The song ends in the sounds of an apocalyptic explosion. (9/10)

Total time 48:48

the softer side of the French Jazz-Rock Fusion scene containing some definite avant garde/RIO, Prog Folk, Symphonic elements and themes, the music is definitely more pleasant and engaging than some French prog bands--more like MINIMUM VITAL, HYPNO5E, or SETNA. I love the fact that David Maurin remains committed to the acoustic guitar throughout. 

90.0 on the Fishscales = B+/4.5 stars; a near-masterpiece of instrumental progressive rock of the NIL-like vein. Too bad it doesn't have NIL's extraordinary vocals! One of my Top 10 Albums for 2008.