AMENTI'S COIN - SECRET PLACE PT. II

CYRIL was formed in 2010 following the demise of rock band Gabria. Marek sax and keyboard on Toxic Smile, Flaming Row and UPF, worked with Steve Hackett, Jon Anderson, Shadow Gallery, Spock's Beard, Jadis and RPWL. All that to say the extreme variety of sounds he was able to integrate. This 4th album follows their 2nd opus of 2016 on a concept for which Guy Manning wrote the lyrics, story of the pharaonic beyond, the title meaning the West and the abode of the dead. The songs are like a melodic, harmonic, fruity and romantic neo prog tinged with singular instruments such as saxophone and clarinet.

'On Sacred Sound' for a start on a watered down song, pop rock air with unremarkable sax and without a hitch to the evolving tempo, would be on the radio during the 80's. 'A Letter Home' connects fruity, anesthetized AOR, prog pop again, airy voice, dancing title, casual, a little violin on the uphill end. 'My Fathers Answer' melodic with this sax from the start; the sequel is more nervous; the kind of upbeat ballad with an endlessly flowing snarling riff; mid-term acoustic break to fit into the progressive drawer. 'Desert Crossing' continues on a variation reminiscent of the works of Phil Collins in solo, groovy, funky, less rock and more commercial; the Andalusian acoustic break is worth purity level then a second break with the keyboard which refers to Alan Parsons until the frenzied solo.

'Caravan' arises, vibrant, mysterious with electronic new wave intro of the Cars quickly erased by a melodic AOR tune; dark, bewitching break with choir and flute for a crystalline symphonic instrumental sax on the front; simple and beautiful. 'Amenti's Coin' for the ambient and dreamy instrumental, delicate piano back melody; smooth sax and storyline. 'A New Shangri-la' continues with the return to a pop rock sound and high phrasing, it flows by itself; the sax arrives making the break more melodic; second ambient electronic break which denotes, too short in my opinion, a bit of Gerry Rafferty in memory. 'The Temptress' and the crystalline acoustic intro just before the verbal contest between Larry and Andrea who has a superb voice, which I will have finally seen heard on more titles; the notes are scattered like raindrops falling from a leaf. 'Arrival' for the end and the sax in reverberation, title which gradually rises finally giving pep; we arrive on a good neo prog pop vitamin; piano break with Guy Manning in spoken word launching a fleshy solo, between colorful new wave and radio rock of Asia or Toto and a divine but too isolated guitar solo; space finale that cuts short this title full of hope.

Cyril releases this concept on a voice of IQ, on a melodic prog rock where the sax takes pride of place; the atmosphere is airy, alert, colorful; both simple and catchy lacking a je ne sais quoi to really take off. Between funky AOR and ambient prog pop rock, fresh as spring.

German band Cyril are back with their fourth album, a concept which builds on 'The Secret Place Pt. I', a lengthy song featured on their second album, 'Paralyzed'. There has been a change in the ranks in that they have a new drummer in Manuel Humpf, but apart from that it is the same core band who have been on all releases to date, namely Larry Br'del (vocals), Manuel Schmid (vocals), Ralf Dietsch (guitars, mandolin), Marek Arnold (keyboards, saxophone, clarinet) and Dennis Strassburg (bass). They have again collaborated with Guy Manning who not only provided the lyrics based on the story by Denis Strassburg but also provides some spoken words, while the guys also brought in Andrea Strassburg on additional vocals. I have long been a fan of any band which involves Marek Arnold, as his understanding of progressive rock combined with commercial elements always ensures the arrangements are spot on, and his musicianship allows bands to bring in his saxophone as well as keyboards which always provides an addition edge. In fact, the arrangement of 'Dessert Crossing' (an unfortunate typo on the CD as it is obviously supposed to be 'Desert Crossing') reminds me in many ways of The Artwork Project's 'Stay'.

This is a comfortable album, one to luxuriate in without many sharp edges or roughness, but as opposed to being cloying or overwhelming there is just enough vitality and life within it to keep it interesting throughout. This is a perfect example of crossover progressive rock, blending in commercial elements which allow it to appeal to people who possibly would not think of themselves as progheads but prefer a more softer rock style. When I first opened the digipak, I was somewhat disappointed to see there was no booklet containing the story, but when I removed the CD I discovered the QR code which when scanned takes us to the story and lyrics so one is able to better understand what is going on. It is not unusual for percussion to take a back seat, while the vocals are often multi-layered and harmonious, the bass is picked to provide a harder edge and bite when it is utilised, and the guitars are there to provide finesse and additional crunch when required, but the arrangements often defer to Marek in one form or another, and the harmony recorders on 'Caravan' are both simple and incredibly effective.

I felt their last album, 2019's 'The Way Through', was their weakest to date but this finds them back on form with a release that is enjoyable throughout.