LUX TERMINUS

The second full-length album by this American instrumental progressive metal/technical fusion band formed by Vikram Shankar (keyboard), widely known as the keyboardist for the American progressive metal superband Redemption and currently active as a touring member of Pain of Salvation, and Matthew Kerschner (dr) and Brian Craft (b), who worked with Vikram on GRAVITY, etc.

The keyboard arrangements, which evoke a wide variety of images in the listener, from dignified piano to smooth Krautrock/New Age sequences and even cinematic soundscapes, are the band's greatest weapon. Accompanied by a rhythm section that effortlessly masters the song's dramatically accelerated flow, this impressive instrumental work combines virtuoso technique and catchiness, even in a guitar-free arrangement, making it a must-have for fans of Arch and Animals As Leaders. Featuring guest appearances from Ross Jennings (Haken), Jørgen Munkeby (Shining/ex-Jaga Jazzist), Jon Pyres (Thread of Fate) and more, the album is flawless and has taken a leap forward from the debut album in every aspect including arrangements, melodies and more, with tracks like "Catalyst" being a LUX TERMINUS take on Haken's emotional prog-metal sound and "Mosaic Mind" being a perfect blend of majestic and nostalgic keyboard work that has something in common with game music and sharp-cutting polyrhythmic beat patterns. Excellent Album.

It can already be written down that my performances with metal music are not very accessible. Hell... even a heater can be classified as "rare" because of them. However, they already occur, and I present these artists and these albums, which are, apart from the mastery of performance and uniform, diverse gallops of musical material, which have something else... some non-metal element, not obvious for this type of music. In the year without security, the artist who fulfilled my personal commitment was Vola with the album entitled "Friend of a Phantom", which album in my personal summary of 2024 includes a high position.

In 2025, although its second part has not passed, the position in my study without three independent releases of the band Lux Terminus entitled "Cinder". But let's start from the proverbial beginning, i.e. from the first information that reached me.

"What a breath of fresh air? a treat for fans of progressive, thoughtful piano" - review from PROG Magazine. "The best and most exciting keyboard album of the year? certainly one of the best instrumental albums I've ever heard, and an absolute must for any serious prog fan" - The Prog Min magazine. The quoted opinions were about the band's first album, which was released in 2018 and was titled "The Courage to Be" and landed on my shelf of records to play often. It's a captivating instrumental album that combines jazz sounds with metal and progressive rock, adding elements of illustrative music to it, creating a stylish eclectic mix. However, as is usually the case, time passes and unfortunately certain artists fade from memory, are forgotten. And so it was in this case until the announcement that appeared in January of this year: "We are excited beyond measure to announce our upcoming sophomore album 'Cinder'. For us, Cinder is a musical reflection of our main vision as an artist. Our goal is to create progressive music in which piano and keyboards are at the forefront, breaking away from their usual role as supporting elements in rock and metal. Melody, dynamics and emotion are also at the center of songwriting, even when we indulge in technique and the weight of 'djent'". And only the waiting time dragged on mercilessly. Finally, the new album entitled 'Cinder' was released on April 18 and it blew my mind. Because, as the clumsily translated title of this suggests, it did not ignite, but rather a musical fire.

Because it is such a very heavy and symphonic album at the same time. Because it is a metal gallop combined with the innocent, simple sound of piano and synthesizers. Because it is an album as fast as a very high- speed train and romantically drawn-out when it is necessary to emphasize some reflective thread. Because it is an album that makes us want to press the "stop" button on the one hand, and on the other, floating on a wave of a specific bliss, we want more and more of such sounds. Because it is an album in every respect metal and in every respect, one could say, of songs, although unfortunately there are not too many of them.

Already the initial, three-part piece "Jupiter" (part one - "Starless", part two - "To Bend a Comet" and part three "Perihelion"), like a space rocket, puts the listener in a state of readiness to listen to the next chords, which perfectly balance on the border of sound power and a delicately playing piano. On the one hand, the whole thing is like some kind of musical cosmic journey, and on the other it seems to be close to vocalizing melodies. The latter feeling is intensified by the vocals of the trio hiding under the pseudonym Espera, consisting of Paige Phillips, Mathilda Riley and Lynsey Ward. Their voices fit wonderfully into this cosmic piece, adding musical sound power, delicacy and a certain psychedelic-cosmic color.

The next three tracks were known before the entire album was released as singles that announced it and... they fully reflect the liveliness of the album. "P.L.O.N.K.", "Mosaic Mind" and "The Devil's Eyes" - they push the boundaries of progressive metal towards a style that is sometimes referred to as "cinematic rock", and in this case it would be better to say "cinematic prog metal". Although these are instrumental compositions, they create, thanks to the combination of power and momentum with melody and delicacy, a kind of "musical stories" filled with a whole lot of emotions. And although there are no words, you can still feel some kind of story, some content built on top of the musical line.

The fifth track in the order, entitled "Neon Rain", is also worthy of attention. The cooperation of bass and drums and the slightly syncopated sounds of synthesizers drive this "musical story" about what surrounds us, about all sorts of madness, whims, dreams and emotions falling on us like the titular neon rain.

An interesting fact is track number six entitled "Catalyst". It is the only full-fledged song on this album. One with vocals. And with not just any artists - Ross Jennings (Haken), Jørgen Munkeby (Shining, Jaga Jazzist, Ihsahn), Jon Pyres (Threads of Fate). Jørgen Munkeby played the saxophone. This only song on the album well characterizes the musical phenomenon we are dealing with, its cosmic dimension and metal-psychedelic flavor - "(...) The vision always seemed so clear / Before it disappeared / I'll turn sparks into fire / Drops into a waterfall". And further: "(...) Suddenly light / Floods my mind / Flying towards the sun / Live as one again". These are not only fragments of the lyrics of this song, I would venture to say that it is a characteristic of the entire album - vision, sparks, flight, light, fire, drops, life. This production stretches musically between them.

The last two tracks, "Apparent Horizon" and "Natsukashii", are a very epic addition to the earlier spontaneity. The middle part of the former is made up of wonderfully pompous synthesizers that create an atmosphere of power, courage and strength. And the track "Natsukashii" works perfectly as a composition that crowns the album. A bit calmer, more dignified, with a powerful wall of sound of the keyboards with the addition of a final fade-out, it not only sums up the whole thing, but also tries to calm down the emotions that have certainly accumulated while listening to the earlier compositions. And everything, once again, balances on the border of power and melodiousness.

Behind the name Lux Terminus are three musicians: Vikram Shankar (known for his work with Pain of Salvation, Silent Skies and Redemption, as well as the composer of music for video games such as Space Marine II, Evil Dead: The Game and the upcoming Jurassic Park: Survival), drummer Matthew Kerschner and bassist Brian Craft. And now I will allow myself to write a note in so-called capital letters: THERE IS NO GUITARIST IN THE RECORDINGS (except "Catalyst"), although it may often seem that way when listening to the album.

A wall of power, the power of momentum, a whole range of synthesizer passages, instrumental mini-stories, a cosmic-psychedelic mood, instrumental mastery, well-matched delicacy and melodiousness ? that's all I can say to sum it up. Is it enough? I don't know ? I got sucked in, the rest is up to you.

(rewiev published at the MLWZ.pl)

Fans of instrumental music and pianos, may I have your attention please because here is an album that may keep you entertained for a very long time and I'm a bit surprised that it has slipped through the cracks. The band is the brainchild of Vikram Shankar and it is based in the USA. Everything revolves around the pianos of this much-talented musician who although is a shredder (consider the solo on Effusion) his main target is to write actual music and not solo over some chords. Did I mention there are no guitars here except a solo on the epic title-track? Who needs them anyway? It's pianos, drums and bass only, but somehow they manage to sound as a "full" band and not one- dimentional and boring. Granted, some songs are more inspired than others like the title-track which expands over 20 minutes and still it flows so naturally, the driving and versatile Miles Away or the soulful The Road Home (III). On the down side Spectral Shapes isn't something memorable (but then again, one can take it an extended intro to The Road Home (III)) and the final song Epilogue differs to all others since it features the vocals of the very Anneke van Giersbergen, but it it's totally uninteresting (it was wise, after all, to place it in the end where it doesn't ruin the flow). On a larger scale, the drums, to my ears, are a bit up-front in the mix but eventually I got used to that, although things could be better. Still, it is the inspiration that, as always, comes first and here is around in spades.