MANNEQUIN

It is always nice finding a release from a group you have never heard of, and not only enjoying it, but fully loving its thrill. I am always on the search for new music, and most often than not like what I listen to. Both old and new music resonates within my ears very well, and I can at times develop a small obsession with a record or a particular track. However, on rare occasions, I will be flat out head over heels for an album that I end up loving so much that I fully resonate it being a flat out masterpiece. Lately, that album that has become addictive for my young ears is Kyros' Mannequin.

Kyros has become a new joy for me this year, likewise with Dir En Grey and David Sylvian. Spearheaded by Shelby Warne, they have become a little known, but still very praised English modern prog group ever since their debut of Synaesthesia. I recently binged the band, and it is honestly so fun to hear how each release of theirs is very high in quality. Even their cover album of RECOVER is a joy to hear. However, I think Mannequin is where the band has truly peaked.

Maybe it is recency bias, but this record is just immaculate. Ever since Celexa Dreams the band has taken a page from It Bites' book on making synthy, prog rock music, similar in a vein to the early neo-prog scene of the 80s. However, they fit things in a more modern soundscape, and cranking the whole 80s inspired pop sounds to an eleven, making music that feels like a mix between Sparks' № 1 in Heaven, IQ's Tales From the Lush Attic, and Kate Bush's Hounds Of Love. I am probably one of the bigger advocates of pop within prog music, so having all these sounds that radiate an energy similar to the big hits of the 80s is like candy for my ears.

Yet the 80s inspiration does not feel forced and overly commercial. Mark my words, this is nothing like Simulation Theory or Forbidden Desires where the synths feel bland and the music feels overly commercial. Nah, we get tracks that can nearly reach the 8 minute mark, with elements of metal creeping in, and more alternative aspects going into full force. I doubt you'll hear something like Technology Killed the Kids IV on the radio.

I can even extend further on the music itself, as the elements stated before, the prog rock, the synthpop, and the metal all surprisingly mesh so well on here that the first time I heard this album it felt like I was a caveman discovering fire for the first time. When I first heard the more djenty section on The End in Mind, it was so crazy and a little scary, but it just flowed so well in the song that, while it caught me off guard, felt so natural. The End in Mind in general is my favorite track off here. The energy of it is so lively and fun that whenever it plays I just cannot help but bop along to it.

Oh but the real highlight here is Shelby's voice. She always had pretty great vocals work on previous albums, but I think after she transitioned did her voice really become masterful. She just sounds so happy, that I just cannot help but have a smile on my face whenever I hear one of the songs off this album. I even find myself singing along on occasion. Seriously fun stuff. Though as such, I think maybe the only quote on quote "bad" songs here has to be Showtime and Digital Fear, but they do not weigh down the album at all even without Shelby's amazing voice due to them still being highly enjoyable.

A little late for this album, but even still I think it is a highlight of this year's spectrum of music, right next to Charcoal Grace. It's fun, lively, poppy, progressive, and everything you can hope for in a modern day escapade. You won't regret checking this one out if you love prog music, I can assure you that.

Best tracks: Illusions Inside, The End in Mind, Liminal Space, Technology Killed the Kids IV

Least best tracks: Showtime, Digital Fear