MANNEQUIN

KYROS mixing the sound of IQ, ARENA, PORCUPINE TREE with alternative and synths for the spiritual descendants of SIMPLE MINDS, OMD, DURAN DURAN, MUSE, Steve WILSON and PURE REASON REVOLUTION.

"Taste the Day" begins acoustically, an innocent nursery rhyme base with synth buzzing in the background, opening before the segue "Showtime" launching an energetic synth-pop-rock sound; DURAN DURAN, funky trumpet in the background, cinematic of a video console game, all on a swirling melodic instrumental that sets fire. "Illusions Inside" for the first track and powerful hard synth-rock sound; singer Dominique Gilbert gives the vocal charm with Shelby on this musical structure; the new wave sound of the 80s enhanced with a powerful groove, the reverberating synth reminiscent of SIMPLE MINDS, the riff of NINE INCH NAILS, PRODIGY. "Esoterica" continues, the best thing about the album is the concept; a flashy sound on 'The Invisible Man' by QUEEN, the tune takes on a lascivious nightclub atmosphere where bodies bob; a hint of PURE REASON REVOLUTION, a lively piece with well-arranged vocals, a crazy gem to dance without moderation; Canyo's airy sax touch is striking, future electronic-rock-pop-prog that doesn't bother with vintage prog markers. The funk riff is delightful and the ending is perfectly progressive. "The End in Mind" changes tone with a light air rising over frenzied drums; energy, a heavy riff, a bursting break with bass synths, burlesque madness one moment and gripping melody the next; on the verge of a symphonic disco djent with an invasive groove; another ambient break on a synthetic DREAM THEATER where Jordan would have taken John's place. Back after this crazy moment to the surfing tune of MUSE, to try to explain that creation is important.

"Digital Fear" continues, ah this pleasure of stuck titles; the John Carpenter-style instrumental, a space heroic- fantasy moment with digital sound, on the cinematography of 'Blade Runner', in fact eyeing VANGELIS until the final NASA voice. "Ghosts of You" but what is PRINCE doing here? A fruity funky pop air, a hint of EARTH, WIND & FIRE, Phil COLLINS for the danceable, confusing piece, don't they go too far? The break starts with Michael JACKSON with Eddie's solo, a 90's sound, diversified to the end so you always have to listen. Segueing into "Liminal Space" which is stunning from the start with its title indicating an uncertain space of transition; jewel title pushing the proguous and administering the new sound in his face; an airy trumpet, brass, where are we going, but in today's dazzling synth prog; reek of SIMPLE MINDS, MUSE for a captivating musical alchemy; the radio edit title which clears up our preconceived ideas about what current prog is. "Technology Killed the Kids IV" robotic intro, cool vocals; the linking title on each album takes the listener to the uncontrolled land of prog; a thunderous chorus, melodic synths, lit drums, a swirling, inventive and immensely progressive track; the TOWNSEND-style riff with the musical wall; the latent heavy doom break, a Japanese note, overboosted prog metal, extreme, without boredom; the finale, this choppy sound, reminiscent of stuck K7 tapes losing their soul, a delight. "Have Hope" concert hall synth intro! A melody that slips with the incursion of an extreme heavy sound; the dichotomy is blatant and plays on the fusion of genres between complex rhythm and various explosions, devastating solos and intense orchestration. Orgasmic musical chaos. "Esoterica" in radio edit for the pleasure of dancing to prog, where the sounds remind me of boosted YES from the 80s.

KYROS plays maximalist prog synth-pop rock, vacillating between ELP at the start, YES, RUSH, FROST*, HAKEN, VOYAGER recently and new-wave groups such as DURAN DURAN, INXS, SIMPLE MINDS, DEPECHE MODE and PRODIGY with hints of Devin TOWNSEND for the fury, others for FRANKIE GOES if they had continued, still others for the synthetic alternative.(4.5)

Kyros, a UK progressive pop band, lead by the vocals and keyboards of Shelby Logan Warner, has embraced 80's style synth-pop on this, their 5th album. But this is synthpop re-imagined from a decidedly bold progressive rock perspective, for a style that sounds new, but is also quite familiar as well. Very catchy beats and melodies collide with edgy vocals and prog flourishes throughout. Starting off with a more gentle acoustic pop song (Taste the Day), the album moves to an energetic synthpop instrumental (Showtime) before the main features and core of the album take hold, an impressive display of progressive synthpop brilliance for the next 6 songs. Unfortunately, the album falters on the final 2 tracks, when the band goes much darker and heavier (more prog metal) on Technology Killed the Kids IV, which apparently is a continuing series from previous albums, but which does not fit or work at all here, and completely ruins the vibe and feel of the album. The final track, Have Hope, is hyperactive and disjointed, and although has some nice moments, is too much of a chaotic mess. Up until those final 2 tracks, this is a really great album, but have to downgrade it due to the poor finish. Best Tracks: Esoterica, Illusions Inside, The End in Mind, Ghosts of You, Liminal Space, Digital Fear. Rating: 3.5 stars

If you're familiar with the 80s and 90s, some of the sounds in 'Mannequin' should sound familiar. Indeed, the British group Kyros has chosen to draw on synthetic sounds which were legion in those years, and to mix them with progressive rock with a more contemporary touch. We will also find other genres in this abundant and intriguing disc, but the whole maintains a coherence based on solid writing and high-end production.

I sold you some 80s synths...it's a failure on "Taste the Day" , a little melodic sweetness with an acoustic ambiance, which doesn't at all predict what's to come. And from "Showtime", we are there: synthesizers, bass, percussion, brass, etc? an impressive instrumental demonstration of the group's abilities to play complex music but which does not forget the melody. This title would have worked perfectly as theme music for an American series from the 80s like "Miami Vice".

Listen to this drum sound full of reverb that opens "Illusions Inside", I find a taste of "Drive", the hit by The Cars . And the rest of the title remains in this slightly nostalgic 80s vein served by synthesizer sounds, bass shots or very fitting choirs. We push the cursor again with the extraordinary "Esoterica" which is bathed in electronic madness supported by a very "straight" Rock rhythm. The beginning made me think (I will certainly be the only one to have this reference) of the crazy 80s electro punk of Sigue Sigue Sputnik . The title then develops on a "Genesis-ien" type terrain until leading to a pop/dance chorus worthy of the greatest hits of the 90s. It is constantly changing, whether in terms of sounds, rhythms or tones, but always falls back on these legs for a piece that is ultimately quite accessible.

What if Stock , Aitken and Waterman, rather than churning out sound mush on hits, had started a Progressive Rock band? Well it might ultimately have sounded like "The End in Mind", whose instrumental complexity (this bridge?) contrasts with the apparent simplicity of its vocal melody.

Return to instrumental music on "Digital Fear" which evokes Blockbuster Original Soundtracks from the 80s like "Blade Runner", and takes the form of a tribute to Vangelis .

A little leap in time with "Ghosts of You" which takes us to the end of the 80s, beginning of the 90s when the music scene was dominated by New Jack Swing sounds. The title is embellished with a Rock solo of the most beautiful effect, and can even recall Prince 's New Power Generation at certain moments.

The synths are largely out on "Liminal Space", again a 1986 hit released in 2024, on which we also find unexpected brass parts.

As in each of their previous albums, there is "Technology Killed the Kids". The "IV" this time, epic of more than 7 minutes which constantly varies the atmospheres. The most Proggy track on the record (along with the next one), fascinating to listen to, but impossible to describe... Of substantially similar duration, the last track "Have Hope" displays the same ambition: complex rhythms, fiery solos, demonstrations of instrumental mastery, refined melodies, for a result that is not immediately accessible but impressive.

In the same vein as what Voyager proposed with 'Fearless in Love' a few months ago, namely the successful marriage of synthetic pop and progressive metal, Kyros skillfully integrates Synth Pop elements very marked 80s to its Progressive Rock of an ambitious nature. The result at times evokes Yes , Frost* , Depeche Mode , Haken or Rush to name just a few groups, and more generally a whole section of popular music from the 80s, a period during which the synthesizer dictated its law. In the end, 'Mannequin' constitutes one of the nice surprises of the start of 2024, which will hopefully see many more.

Review originally posted on www.progcritique.com.