KYROS / EX SYNAESTHESIA

The End in Mind is the latest single by a modern UK band Kyros, that is: Shelby Logan Warne on vocals, keyboards, Robin Johnson on drums & percussion, Peter Episcopo adding bass and some vocals and last but not least Joey Frevola on guitars. It is also the first music by the band in three years. Containing only one song, the total length of this EP is 7:52. The End in Mind is a relatively short ride (by prog world standards) into different places. The verses have that quirky feel to them especially with sparse xylophone addition, the vocals are quite poppy but catchy (or trying to be). The heavy part is introduced to us at two and a half minutes and from there onwards, it is a contrast to everything before in this song. It showcases the playing ability of the band, with those heavy sounding bass passages and hard hitting guitar riffs with synth pattern dominating in the quieter parts here and there. At five minute mark we return to the main theme of the song (a bit modified this time), almost 30 seconds later we get a guiar solo, played fast. Near the 6 minute mark we once again return to the verse. The vocal writing is fun. The heavy part is brought again near the 7 minute mark and stays till the end of the song. Is that some sort of a teaser for another song in the last 10 seconds of the track?

Overall, The End in Mind (7,5/10) is a good indicator of a new creative period for Kyros. The experimentation in the pop prog sphere is obvious. Personally, I'm not a big fan of the poppier side of prog, but I understand band's choice. It shows ambitions and capability to change the approach to writing music, develop their skills, expand their fanbase-audience.

However, experiments can be unsuccessful... Anyways, time will tell whether the band made the right decision.

Prog Wave? Fantastic album! If you are a fan of Tears for Fears this album is a no brainer. One of the best Progressive Rock/New Wave hybrids I can think of that is not a Tears for Fears album. What's most surprising is this is 2020 and emulates the 80's perfectly only with a Progressive Metal surge in the guitar work. Lots of deja vu moments as this album will remind you of everything from Peter Gabriel & Genesis, to Duran Duran and The Fixx or something of that sort.

In Motion, Rumor, In Vantablack, Phosphene, & Sentry all being tracks that emulate 70's driven Progressive Rock and 80's New Wave mixed in a soup. In Vantablack being the most impressive track of all.

In Vantablack being an unpredictable epic roller coaster. You get Prog, Wave, and Metal going back and forth. You won't hear a song like this on any other album. This song alone may be the price of admission.

Having grown up in the 80's and having listened to many albums that tried to do something similar to this I am blown away by what this album accomplishes. Sure there were Prog albums with New Wave in it. Saga, King Crimson, & Twelfth Night come to mind. Even Rush to a much lesser extent. New Wave acts who had albums with strong Prog influences Simple Minds(early), Orchestral Manoeuvres in the Dark(early), Japan, Talk Talk, China Crisis, The Cure, etc. Roxy Music helped pioneered both genres. Tears for Fears being one of the most successful and prominent Progressive Pop bands to ever walk the earth. I think this album is the best Prog Wave album Tears for Fears never did.

Definitely not for purists. Many Prog fans actually prefer this over 80's Neo-Prog while others the complete opposite. To each their own I guess. This was one of my favorite albums of 2020 and I definitely never expected to hear anything like this ever again unless it was a Tears for Fears reunion.

KYROS is a group born under the 1st name of SYNAESTHESIA with Adam WARNE at the helm; a gifted young man who mixed musical structures from IQ, FROST, ARENA and above all from PORCUPINE TREE. He combined modern alternative sound with forward synths until he changed his name to KYROS (revival plus other bands claiming the name!) Bringing more experimental sounds, from the alternative avant-garde in my opinion, based mostly on energetic riffs mounted on a prog new wave rock base; a kind of creative breeding ground with atmospheres smelling good 80's pop on progressive drifts, a dream of imagining SIMPLE MINDS, DURAN DURAN or ORCHESTRAL MANEUVRES IN THE DARK getting into prog in their time; from MUSE and Steve WILSON in the background. A rather radical change which may put off some fans of the dino-prog genre because the sound here is much more modern and playful. This album is the 3rd CD, the 6th if you count their EPs and singles. The title speaks of course about this little miracle molecule supposed to treat depression.

'In Motion' opens the way with a pop-prog-new wave track from the 80's; a dancey and funky borderline track with keyboards and bass forward, the percussions completing the fire; electronics are put on the pedestal and one wonders which band we are listening to; It's confusing and the solo sax finishes us off until a very SIMPLE MINDS comeback in fact even from DURAN DURAN. 'Rumor' starts from the same very dancing, energetic bases and also with very strong sounds, especially at the percussion level; the chorus hooks immediately, the keyboards become airy, clear, crystalline, Adam's voice syncopated which can put you in a trance; I find here that KYRIOS allows itself to explore even more danceable sounds than what LEPROUS has dared to do recently, but much better personally than the mistakes of NO-MAN. 'In Vantablack' tumbles with one of the two flagship songs more than 10 minutes away: we are irremediably far from SYNAESTHESIA who flirted with PORCUPINE TREE, ARENA or IQ; here the atmosphere is much more cheerful, lively and less introspective; this title takes you on the road with the whole group and the relentless progenitors of the origins can only be amazed by the gradual drift that this title transpires; a few touches of FRANKIE GOES TO HOLLYWOOD or her son over there, the synth-trumpet that asks you questions, a low limit disco, then a mid-term drift that becomes pornstar, crazy, intoxicating, which makes your hair stand on end of your hair (I hope you still have some !!), in any case this drift is purely orgasmic and asks only to be listened to as soon as it ends; the final fits more into a neo-prog concept with piano and soft voice which reminds me of certain melodies typical of GENESIS there; the final return is more symphonic and raises questions about the direction of the group which has just released one of the most beautiful pieces of the year 2020, bluffing and astonishing! 'Ghost Kids' for a chained interlude, one of the strengths of this extraordinary group, and a sidereal atmosphere followed by a guitar solo from elsewhere, and we continue on 'Phosphene', a slow ballad which rises in crescendo with voice forward, a step forward to reconcile, a trompe l'oeil title filled with musicality, heavy, dense and overwhelming; a title that allows you to rest your ears without getting lost.

'Technology Killed The Kids III' a sequel to 'Vox Humana ', also chained, a plus for this album and for the group, which makes you dream of listening on stage, SF track at the start, calmer track, intimist alerting on the dangers and abuses of the web; a sudden musical rise with heavy riffs which suddenly reminds me of certain titles of the master ZAPPA, a few notes of NINE INCH NAILS even, a little more hard XTC with this well-chiseled chorus, a little even of GENESIS 'Duke' or 'Abacab', the end becomes spellbinding with a machine gun riff which denotes and makes you forget the rhyme imagined at the beginning. An occasional explosion of heaviness, creativity and unpredictability I read somewhere, that's it. 'Sentry' arrives with an ethereal, airy track, mixed voice, heavy rhythm but definitely pop, a bit of RUSH that we have forgotten too much as a progressive flagship group, HAKEN of course in its prog drifts and a lot of fruity notes VOYAGER, melodic prog-metal surfing on TOTO, DEPECHE MODE and ETERNITY X, even also a few touches of OCEANSIZE, electro-pop-prog all that! 'Two Frames Of Panic' leaves him on a purely Bellamyian sound with MUSE right in the ears! The style also draws some notes on the QUEEN rock opera which in fact prolongs the resemblance, the instruments are put forward with always this debauchery of rhythms syncopated a little in the final genre of fireworks.

'UNO Attack' continues on the same line with forward synths then incisive guitar limit djent at times; my god what sound anyway; here a frenzied instrumental track which synthesizes even more everything that may have been created in recent decades, in fact I would even say distill instead of synthesizing because we have here the best in concentrate, so it is no longer a simulated university or a bis-repetita from another group, or even a fusion, just a musical distillation to give music of the gods. 'Her Song Is Mine' ends the album with a romantic and nostalgic piano ballad, a voice out of context, an end of film title, er end of CD or digital album, both soft and ready to go in more explosive regions; a title which brings us back to the concept album, a song which can remind a little of the end of the film 'Brazil' with its innocent little ballad; a title taken apart which denotes but which here puts the PROG in the spotlight for the musical opening, just go for the last souvenir on a little JAPAN to make you think, just before the very pompous and airy final chorus. Please note the following silence also comes from the album!

KYROS extends its musical ranges and no longer offers only memories of groups in which we were able to bathe, he composed here an impressive innovative sound synthesizing and distilling the substantive musical marrow. An exciting experience with new music which adds to prog in general another drawer, that of electro-pop-new wave- prog. Sound that may remind you of RUSH, GENESIS, KINO, SIMPLE MINDS or DEPECHE MODE, passing by Steve WILSON or MUSE, it's still amazing. This openness can only be applauded even if I deeply regret the sound of SYNAESTHESIA. Finally, this album after deciphering may simply be one of the best releases of the year, no matter what because this synth-pop synthesis brings a new prog drawer into the ever-growing world of PROG.

Kyros is the emancipation of Synaesthesia, a tour de force debut from prog wunderkind Adam Warne that simply shook the foundations back in 2014 when the album was released, garnering both adulation and high marks for an artist barely 20 years old at the time. Great vocalist, songwriter and keyboardist, Adam provides a modern as well as retro sound to the music he writes and that first album was easily one of the finest in recent memory. While basically mostly Warne on all instruments and a crew of session players to fill in the gaps, the decision was made to incorporate those guests, drummer Robin Johnson, bassist Pete Episcopo and guitarist Sam Higgins into a full-band effort, adding Joey Frevola on guitar as well. Thus, Kyros is a way more guitar-centric vision, though still quite keyboard-led but fully reliant on bombastic melodies, huge arrangements and shimmering appeal. No soft ballads here, my friends. Adam's voice has also grown into an ability to modulate according to the needs of the piece, a most welcome progression. 'Vox Humana' is a splendid 2 CD masterpiece that proves to be a violent upgrade on the previous experience, a bruising ride set off by the turbo-charge ignition of the 30 second title track, leading into the pulsating 'Technology Killed the Kids', an extended reworking of an instrumental track found on Synaesthesia, that now gets the full song treatment, a very cool concept about how modern equipment can actually be detrimental, or just outright mental. The beefy twin guitar attack makes one shrivel in abject fear, swerving from spooky (the menacing bass ramblings) to angrily despondent, garnished with choppy riffs, shaking synths and tectonic drumming from the incredible Robin Johnson. Warne sings with raging abandon, making this quite a revelation, offering dynamics, melodic disposition and immediate charm.

'Cloudburst' is the maxi-single and while much more immediate than previous and upcoming material, it has a huge cinematic quality, a chorus to die for and some earthshaking instrumentation. The style is closer to accessible crossover prog acts like Frost* or It Bites to be sure, certainly appealing but nevertheless intricately made. Things get decidedly proggy on the sensational 'Persistence of Vision' which has a classic soft/hard dynamic made famous by bands such Porcupine Tree, rhythmically calculating and endlessly exciting to say the least. When the mood gets heavy, the sulphurous guitars sizzle like molten lava, the keyboards roam like the wind, as both the bass and drums keep everything firmly encased in rhythmic governance.

With a title like 'The Lamb, the Badger and the Bee', don't expect a pop song about frivolous subjects, quite the contrary. This mellotron/synth heavy affair is volcanic, aggressive and guitar pounded into submission, turning on a dime with dense variations, fixating on obsessive details, flicks of wrists and switches. The immediate drum work is quite impressive as well as the huge central melody sung with apathetic zeal from the intricate Mr Warne. Poly- harmonic singing reminds us that someone must have listened to Gentle Giant and decide to add a little snippet of vocal folly.

The bass-propelled 'New Paradigm' instils more bombast, as if that was possible, with towering synth/mellotron expanses, carved by heavy guitar riffs and an avalanche beat. The vocal is pained and sorrowful, desperation in the air, rage barely scratching the surface and assured delirium ahead. The choir work is stunning in intensity and placement, making Adam shed a tear or two, lips trembling and heart bleeding. A bold mid-section that has a vocal and an electronic beat , more like Depeche gone Mode, completely surprising and unexpected. A nearly 9 minute epic, this is another highlight among many highlights on the first CD.

Maintaining the manic pace on disc 2 , the 'Mind Electric' rekindles frozen images of mechanical spirits, dangling soundtrack-ish images that shake the foundations, as Warne feels suddenly 'confined and confused', looking to 'unlock your mind' with a uber-high pitched vocal snippet before the monstrous onslaught slams through the speakers. Hydra-drumming and gangland guitar slashes combine to influence the hysterical vocal, frenzy and panic clasping hands in sheer fear. Nasty and futuristic. Sign of the times?

As if a brief antidote of sorts, a slick and highly melodic guitar solo comes to reassure and relax, before evolving into a playfully complex entourage of sound and purpose, 'Speak to Me' has pizzicato strings, soaring bass lines (Pete is quite talented) and shearing drum blasts. The almost classic synth chorale is pure symphonic prog and adds a lot to the creative vision of the band.

Adam seems to like the word 'persistence' (see above) as he now offers up 'Persistence of Perfection', a phenomenal track with a melody that will drop you to your knees in abject submission. Big, bad and beautiful in every single way, the arrangement offers a colossal beat, immediate beauty, winks of insanity, slippery synth warbles and a sense of incredible resolve. Wow! This feeling is maintained on the ensuing powerhouse 'Monster' , which simply shuttles the musical earthquake further, displaying some intricate guitar shavings that explode all over the room. The voice is synthesized to add cruelty and gore, hushed voices kneeling in full distress, as Adam states 'you are a monster'. Gulp!

Finally, some respite after an hour of explosive tunes that seemed at one point relentless and eternal, the lovely 'Hounds' certainly starts out all pastoral and serene, yet with a sense of foreboding and imminent danger, as if Adam is playing with your senses (his art and passion, seemingly). He hits a high note and then everything goes tornado, swizzle stick guitars and lemon synthesizer zests fool around with odd-ball electro drums. Macabre and gloomy as if some na've nightmare set to carnival music, 'The Darkness Grove' acknowledges a sense of guilt and menace that permeates the entire disc. Cemetery pealing of bells, echoing synthesized specters, radio hisses and a voice from beyond the pale.

A kaleidoscope of chaos, 'Boiling Point' is aptly titled, as its sheer sonic mayhem. Hysterical, oblique, slightly deranged, barely disguising a rant from a person who has crossed the Rubicon and entered the human asylum unwittingly. 'Deadly poison I can feel' he intones. Twilight zone and outer limits all rolled in one, the middle section unfazed and serene but only briefly before machine gunning drums salvo skywards like an ack ack gun gone haywire. More punishment comes with 'Ego', a 'me/myself and I, rant that streaks like a grating muffler on a freshly paved autobahn. Strong Steve Wilson feel here, a deeply psychotic, internalized and spooky mirror that is cracking or perhaps even already fissured.

No brakes on this baby, 'Dilate' keeps the foot on the metal pedal, adding huge swirls of bombast that would make Ayreon proud, an 8 minute epic ride that slips into more symphonic territory, armed with a glorious chorus and offers up a supreme guitar slice that is truly majestic and heartfelt. Adam once again shows off a voice that has matured immensely since the debut and is first class here and elsewhere on the disc.

This album is a heavy, unrelenting, manic and desperate bulldozer that smashes boldly forward, listeners beware! Very little respite and certainly no surrender, I was truly tired after listening to the whole thing, as there are very few down-tempo moments here to be found. Straight ahead heavy prog all the way through with occasional curtsies. I am still enamored with the debut but soon I might just be equally impressed with this. It needs a few more spins, in my view, to really sink in.

4.5 choir beings

I usually don't write reviews, mainly due to lack of time. In this case, it is worth dedicating some time to highlight the extraordinary work of these prog millennials (which I thought was an extinct species :) ). I also learned this morning that writing reviews has an effect on the overall rating, so I am putting my 2 cents to inform this community of an extraordinary event.

This is by far the best prog album I have listened to in 2016, and arguably the best new prog band since IQ. In my opinion, It is the textbook definition of what a prog rock album should sound like. An incredible collection of beautiful melodies, carefully harmonized and constantly progressing to keep the creativity flowing throughout the album, avoiding being repetitive. Lots of keyboards, reinforced by great guitar, voices and excellent instrumentation. CD2 is the closest to Misplaced Childhood Side A that I have heard. One long beautiful song with all kind of musical variations and a spectacular finale.

Kyros (Previously Synaesthesia) is a new breed of prog rock. Hard to place into one category, I tend to associate much more with Neo-Prog bands like Marillion, IQ, Pallas, Pendragon, DeeExpus, Twelfth Night among others, however keeping their own personality and versatility of sounds. Definitely not Crossover as described on the header.

Vox Humana is an incredible musical achievement. CD1 has excellent songs as Cloudburst and Persistence of Vision. However, CD2 is much stronger and balanced. It is about an artificial human created by a scientific and all the implications of messing with human creation. The experiment goes out of control and the humanoid turns into a monster. The music and voices tell the story magnificently with several peaks and valleys emphasizing different elements of the script. First part of the album starts slow, building momentum from the beginning (Mind Electric) brilliantly transitioned to Speak to Me showing a phenomenal talent in keyboards and paving the path to Persistence of Perfection. After Monster, it transitions into a slower mood only to progressively grow to the last part of the album with Ego and Dilate, fully energized with an epic finale incorporating great keyboards and a superb guitar solo.

If you like IQ, Marillion (OLD) and other Neo-Prog bands in general, Vox Humana is a must in your collection. This is one of few albums that I place in the same league as Selling England, Subterranea, The Wake, Misplaced Childhood, The Wall, and Close to the Edge, just to give you an idea.

'Vox Humana' - Kyros (68/100)

Progressive rock has had its ups and downs over the past few decades. Although this is arguably the same for every genre of music, well, ever, you would think a style that's purportedly meant to advanced its genre forward would never run out of steam on its own. Nevertheless, as a fan for most of my life, I've seen it gain and lose traction. The last big resurgence in prog rock happened around the turn of the decade nearing 2010. Haken, The Tea Club and Leprous were relatively fresh to the scene and taking no time to blow me away. 2011 would see Leprous put out the best prog rock album of the current decade with Bilateral, as well as the last solid album for Dream Theater. Sure, it's always still been easy to look at things cynically in comparison to the 1970s, but there's always been quality material if you know where to look.

By the point of 2016, I'd say that progressive rock has arguably slumped back into its dormant state again, but it's not stopped fresh artists from playing against the times and releasing fresh prog of their own. For all it's worth, I'm pretty blown away that a band like Kyros are so young. Where most of the progressive dialogue is taken up by old giants, Kyros is making waves without leaving their early 20s. Though that detail may not be so impressive in other genres, I can't help but feel some more young blood is stepping up to take the torch for themselves.

Somewhat in the vein of Haken or even The Tea Club, Kyros follows suit with the current frontrunners by combining elements of classic progressive rock with the new. While I've always felt that the more decidedly "modern" bands like Radiohead and The Dear Hunter were more relevant to the contemporary dialogue, as a longtime fan I'm always impressed to hear old tropes (moog solos, multi-part suites etc.) brought to life again with a fresh glean. Closest to Haken than anything else I can think of, Kyros constantly teeter on that verge between rock and metal. These days I'd say that line is more blurred than ever in the context of prog, but I doubt many will notice how casually this band struts across styles. There's a ton of professionalism here and I'm consistently wowed by the level of presentation. On the other hand, I think the only time when I felt I was hearing something "new" was on "Technology Killed the Kids II", where they combine the sacred and profane by drawing it the distinctive womp of brostep into the prog melange. Although it's arguably the freshest thing that Vox Humana has going for it, it was one of the only parts I felt really didn't work in the album.

Barring that, it's pretty clear Kyros have borrowed their identity from a number of bands that imprinted themselves in the progressive dialogue a decade before. Despite the monstrous hour-and-a-half length of Vox Humana, I found it surprisingly easy to get into, and simultaneously came out of it with few distinct impressions other than: a) I enjoy it, and b) it hits every predicted note of what prog rock should be without actually progressing an inch beyond what's been done in the past. I may simply be cynical regarding the present state of prog as a whole, but it does fee l like Kyros represents the most promising good and the restrictive limitations of modern prog simultaneously. Vox Humana expresses a ton of skill and ambition without appearing to take much in the way of risks. Of course, if bombastic, ambitious prog is your thing, that Kyros haven't pushed the envelope much shouldn't matter much. For all it's worth, they've got a grasp of the genre rivaling musicians that could have been twice their age.

Synaesthesia are a young, fresh-faced UK prog band who have had the good fortune to become protegees of IQ's Mike Holmes, who after they signed to IQ's Giant Electric Pea record label would not only take on the production duties on this debut album, but would also provide a guest spot at one point on guitar. Try and spot him if you can, though, because group guitarists Sam Higgins and Ollie Hannifan offer a capable two-lead attack which provides a suitable backdrop for Adam Warne's keyboard work. It's not a perfect album - in particular, I find Warne's vocals to be rather bland and generic, and wonder whether the band wouldn't be better served by going instrumental - but it's an fairly solid debut which makes me hope for great things in the future from this group.

This is my first review of an album here on the archives but I just felt the urge to explain why i think this one deserves 5 stars!

Sometimes a piece of music takes you by surprise and sometimes, even more surprisingly, it stays with you... The first few spins, I thought it was a nice listening experience. But after a few weeks pause, I listened to it again and it blew me away! I was stunned how much I enjoyed it, how familiar it sounded to me and even now, as I write this review, I have the feeling that it´s still growing on me.

This debut is unobtrusively fresh, full of awesome compositions and diverse soundscapes - and it conveys a very unique mood: uplifting, yet thoughtful and of decent epicness. Spacy atmospheres alternate with catchy symphonic melodies and the vocals somehow bring the term "new-generation-fairytale-flair" to my mind. Vocalist Adam Warne tells the story (although it´s not necessarily a concept album i like to call it this way) in such a profound and authentic way, it totally takes you on a journey: through the ups and downs of human life and emotion and still it manages to leave room for your own imagination and feelings - your own story.

The whole album is a totally unique listening experience - it´s consistent and throughout very enjoyable.

People in search for a fresh blend of soundscapes, subtle, yet powerful emotions, top-notch compositions and a memorable journey through the first chapter of 21st century fairytale epics should definitely check this one out!

This piece of art has conquered a space in my heart and has become part of my story - for: "this is it, this is where my life begins to change..." <3

4.7 / 5 brilliant new beginnings!

As soon as I saw that this band have released their debut on GEP I was excited to hear what they are about. The label may not have released many different artists over the years, but given that their roster has included bands such as Jadis, Threshold and Big Big Train, as well as of course the mighty IQ then my excitement is fully justified. Then I realized that it had been produced by none other than Mike Holmes himself, so I became even more intrigued. Add to that the fact that the opening song is some 22 minutes long and all the signs were definitely pointing in the right direction. The fact that this band has been put together by a young unknown keyboard player, Adam Warne, who also wrote all the songs and sang them only added to the interest.

I felt that there was no way that I could possibly be disappointed by this, and boy was I right. Slightly more Crossover than Neo, this is an album that is immediate and for me hearkens right back to the Nineties when the UK scene was just exploding with incredible bands and great albums. This has pretty much all one could wish for from a progressive rock album: it turns and twists, allowing everyone to take the spotlight when the time is right, and always driving forward. Although Adam is a keyboard player this is not an album that is overtly dominated by keys, but is incredibly well balanced and allows the twin guitars to shine and dominate when the time is right. But he also has a Steven Wilson approach to vocals, and there is clarity and emotion in all that he does in that arena, shining above the music with real passion and vitality.

There have been some standout debuts in the last six months or so (Mice on Stilts and Perfect Beings for example) and this is yet another. Their links with IQ have already seen them benefit in terms of gigs, but they have to stand on their own right and with this album they definitely do it. No doubt this is going to feature in many end of the year lists, it is that good. www.synaesthesiahq.com

2014 off with a huge bang. "Extra, Extra, tweet all about it" yells the cyber-paperboy!

Confidence, balls, courage, chutzpah, called it what you will but kicking off a career with a 22 minute extravaganza is a risky business, so it better be darn good. Here we have, blasting out of the blocks, an epic song that touches on so many fronts, at times symphonic and then exploding into an endless vortex of new mood plateaus of sensorial delight, the kind of music you would put on to seduce some succulent young lady into falling into your proggy arms. The best word to describe the first impressions is a sense of beauty that has a huge amount of thought and amazing instrumentation by a one man band, with only some guitar help. The expression is of human reality and not some Tolkien-esque fantasy. "Time, Tension and Intervention" is a 21st century classic, monumental both in scope and in depth, yet seductive to the ear, wrapped in a series of sumptuous melodies, cascading wildly like some winter whirlwind. The guitar playing is world-class, shimmering and glimmering, evidently influenced by the likes of Rothery, Latimer, Barrret, Hackett and IQ's Mike Holmes (who also produces and guides here). Add Akkerman to the list as there is even quite blatantly, the first bars of Hocus Pocus, just to get us older foggies excited again. Two fretboarders are hired to supply the needed shriek, Ollie Hannifan and Nikolas Jon. The arsenal of keyboards create a rich, modern, even futuristic tapestry, hinting at old stylists like Gary Wright, Thomas Dolby, Manfred Mann and Rick Wakeman. The 4 string marvel coughs belligerently, bopping when required and bitch solid when needed. Drumming is quite muscular, pounding hard within echo-laden synthesized atmosphere. The whole rocks, soothes, careens and caresses, all perfectly synchronized and keeping the edge honed at all times. A colossal achievement worthy of the highest praise and frankly, the talk of Progtown, at least in Neo/Symphonic circles. "All I need is a friend and I found you". Indeed!

The one man band is Adam Warne, a 21 year-old wunderkind who must have grown up listening to Vulgar Unicorn albums, as there is a stylistic similitude that explains epic sizes, bombast and subtlety, power and caress. Or he has incredible prog instincts or someone gave him a proper and in depth education, covering the golden years , the abyss periods where electronic synth-pop ruled the waves and the recent magnificent progressive renaissance. His voice is a pleasant hush, not unlike Steve Wilson or Riverside's Mariusz Duda, as is very evident on the second tune, the brash, bellicose and blatantly flipped out "Sacrifice", which winks at classic Foghat, Trapeze and such. Yet Adam has more surprises up his vocal sleeve, doing successfully some intrepid modulations, occasionally serene, often powerful and evocative on so many levels, even detached ennui. Wimpy neo-prog this is not. In fact, it razor sharp and rapier devastating, ballsy and rocky in unending surprise or the musical version of shock and awe (less lethal than war), as the subject matter is mostly romantic slanted, evoking distant aromas of early Roxy Music...Speaking of which, while I happen to be on the subject?

"Moumenon" has a distant relationship to Bryan Ferry's Mamouna album, only in that it's musically exuberant and adventurous like Roxy Music was once. A simply crafted, rollicking piece of entirely proggy prog of the finest vintage, soaring Manzanera-like guitar solo to add the proverbial cherry.

"Epiphany" is the most poignant and delirious song I have heard in a decade (aka that's a lot of music ? Lots). Kicks off like rocket from hell, ka-boom and quickly, unexpectedly flutters into a sumptuous mood, very sexy, very Ferry one second and a howler the next. The same then happens with the music veering into Hawkwind-intense, blazing mellotron leading the charge, the mind reeling from the sheer enjoyment of hearing such quality music, this song is a perfect audio time capsule for the genius of prog, a universe that combines the roots with the heavens, blending in all the colors of the spectrum. Warne bellows "Please take me home" over and over again until the final climax. You have to hear this to believe it, a masterpiece slice of brilliance.

Let's get those neo-prog bashers into a tizzy, gazing down only at their foolishness, tied as they are to this Synaesthesia chair and endure the unthinkable pleasure! Couple of short gems add sparkle to the rain = "Good Riddance" is a snarly affair, replete with gusto and bravado (them two Italian twins), "live my life" he blurts, the voice suave and the theme electric. Booming bass, obsessive themes not unlike Anathema, especially in lieu of Warne's emotional delivery that does recall Vince Cavanagh, perhaps one of the finest current rock singers ever.

This modern trend becomes extremely obvious on "Technology Killed the Kids" (great name for a band, no?), wondering where the video star is hiding now, a quirky little thingie that is smart and well-played, old bean! There is a robust but playful sense to the proceedings that just 'buggles' the mind.

The whopper prog-pop song "Life's What You Make of It" ends the album, a clear declaration of their prog roots, giving priority to the ethereal and luminescent. This , folks, is a another killer , on a murderous album, not to be confused with almost similarly titled Talk Talk hit back in the 80s . Here you may get a Vienna Circle vibe or a proggier Blackfield if you like. Another reviewer mentioned Neil Tennant of Pet Shop Boys, which is again confirming the 80s sensibilities displayed here in abundance. Amazing performance with flourishing bass, swirling synths and propulsive drums giving the passionate vocal a solid platform to expand on life, love and the pursuit of happiness.

As I stated earlier, this is timeless music, the type I could only pray to make if I was a musician. Bah, being an audiophile is good enough! So many familiar tinges, 80s stuff like the Korgis, Simple Minds, New Muzik, Naked Eyes and similar ilk, all processed with intense, modern and classy proggisms.

Synaesthesia generously gave and I happily took. One of the finest debut albums in prog.

5 no-brainers