SONIQ CIRCUS

SONIQ CIRCUS offers a fruity and symphonic neo prog with this 3rd album, they who started in 2007; they remind me of MAGIC PIE for phrasing and musical research, SPOCK'S BEARD and RUSH, a bit of SAGA. It was precisely by putting SAGA on Google that I came across it in 2011 with 'reflections'. This chapter 1, written more than 12 years ago and dedicated to retracing the events on the M/S Harmony, prints a melodic, contemplative atmosphere on sounds from before and now.

'The Cruise (Prelude)' majestic intro with finesse to the tune of 'Cap'taine coeur de miel' if so; meditation with a reverberating synth à la AYREON, it starts oriental/medieval with 'Let the Game Begin, Part I' strange by the voice, the slow tempo and the trumpet at the start quite bluffing; a heavy tune for the verse, captivating for the quickly assimilated chorus; back-heavy orchestration; break with trumpet which assimilates perfectly, it's well done in fact and the choirs add to it. 'Let the Game Begin, Part II' for the dark phrasing phonic interlude allowing to launch 'Let the Game Begin, Part III' with a twirling intro, a surly and fresh riff, bucolic as I like to describe it, between a JETHRO TULL and a colorful contemplative rock; it's strange because changing, a clean sound that gives rhythm. The synth brings a colorful break between melodic metal and symphonic heavy on RUSH; the final trumpet touch marks the spirit. 'Cold Water' flight of keyboards for the radio edit concentrated vitamin, more rock. 'The Quarrel' for the 80's ANGE synth, rhythmic, intense; the rest falls on the MAGIC PIE just for the typed, phrasing voice; the keyboards become vintage on a CIRCUS MAXIMUS, the expressive used sound of Marco, the guitar of Marcus on an Ian Crichton with an energetic spleen. 'Toccata - The Storm Approaches' for the hook from chapter 2, a divinatory piano arpeggio on the rest of the cruise?

SONIQ CIRCUS offers a heavy neo prog with worked intimate breaks; unclassifiable, modern, symphonic, heavy and fresh just for the addition of the trumpet, a beautiful opus. A young group that he must take the time to listen to.

So let the game begin ... we are invited now to accompany the SONIQ CIRCUS band on a relatively short but beautiful musical journey. In 2010 they already had started to compose new material for a concept that is dealing with experiences around diverse events taking place on a cruise ship. Now in 2022 the band are ready to submit, are aiming to cross the equator. Thus 'Chapter One: The Game Begins' comes as the first out of three releases completing the whole story. And then the album cover illustration reveals a lot. We are travelling with the M/S Harmony. This is probably correlating with ocean cruiser Harmony Of The Seas in real life, having a capacity of more than 6.000 passengers. Markus Nilsson (bass), Marcus Enochsson (guitars), and Christer Ugglin (drums), all the three are core members since the beginning. And then Marco Ledri (keyboards) and singer Alexander Abrahamsson are completing the crew. When playing live from now on, okay, you may imagine the required dress code?

It's their third regular studio album already. But I can't remember that I ever came in touch with the band before. On the other hand, there is quite a huge gap of eleven years to state regarding the forerunner release 'Reflections In The Hourglass'. The album starts with a symphonic, bittersweet and dramatic atmosphere, when it comes to the prelude at least. Furthermore remarkable guitar licks respectively riffs are leading through the main suite Let The Game Begin. The trumpet is serving a jazzy note here and there. Great, that's sophisticated song writing, for what it's worth. No sign of slowing down after that. They are offering an appealing flow from the first to the last minute. Neo prog with a heavy pitch maybe? All in all stylistically seen this is difficult to pigeon-hole. However, it's Progressive Rock from Sweden for sure, simple as that. Please let the game continue ...

Swedish band SONIQ CIRCUS has been an ongoing entity for more than 20 years, with two full length albums to their name that arrived in 2007 and 2011 respectively. Following a bit of a break as a recording unit the band returned earlier this year with the mini-album "I'm Awake, Carry on Life", which was self released by the band in early November 2020.

Those who know and love their 90's and beyond era of neo-progressive rock might want to check out this latest mini-album by Soniq Circus. Many will find a lot to enjoy on a music level with this production, but the vocals will probably be a bit more of a hit or miss element with this band than with many others. Hence sampling this album prior to a purchase will be a given, and in particular if you are sensible to vocals in general or, like I do, listen to the vocals primarily as an instrument.

Herky-Jerky Circus

Does Not Gel

Sorry, this EP from Sweden's SONIQ CIRCUS has some of the right ingredients- the circus has clowns and highwire artists and glitz and glamor- but it somehow doesn't hold together well.

It was hard to come by (how is it bands don't make this information easily available?) but here's the current lineup: Alexander Abrahamsson (vocals), Marcus Enochsson (guitar, vocals), Marco Ledri (keyboards), Markus Nilsson (bass) and Christer Ugglin (drums).

"I'm Awake, Carry On Life"

This EP consists of four tracks, cleverly mirroring the title of the EP: 1) IM; 2) Awake; 3) Carry On; and 4) Life. It appears to be the third release from SONIQ CIRCUS- the band has apparently been around since 2000; their eponymous debut was released in 2007. Then in 2011 came "Reflections in the Hourglass"; and now, nine years later the subject of this review.

IM

There's a piano intro- and I think the keyboards are done well, a highlight- then a vibrant guitar/bass/drum entry. For my ears, the drums are consistently mixed too high, the bass guitar too low, and I never got fond of the guitar tones. There is a stately progression, imaginative tempo changes, and I'd call the band 'heavy progressive' music. There's a pretty nifty synthesizer lead.

Awake

I like the uptempo, vibrant opening. Catchy choruses are a strength in this EP and certainly here. It's pretty intense. Vocals are just barely ok, rarely making much impression, although there are good harmonies at times. Some soaring guitar leads are nice.

Carry On

The synthesizer opens the track, leading to jaggedy guitar riffs and again some sizzling synthesizer leads. Variable tempos keep the interest, but again, the pieces don't always hang together for me. I like the grand piano, which subsides, and a dreamy, lazy vibe begins, with soaring lead guitar overhead. The hard-driving piano changes the feel, and leads to some treated, rougher vocals- perhaps the most compelling vocal work on the EP.

Life

Drums put down a catchy rhythm, then spritely bass/guitar enter. There's a wistful, offbeat verse with the so-so vocals. This leads to a lovely, stately progression, in which the harmonies and vocal arrangements are nice. Jangly, psychedelic screeching, wailing lead guitar begins to enter, and forces the other instruments into submission, and closes the EP with a yowl.

Highs- drums, keyboards, some of the progressions. Lows- didn't gel, didn't feel well composed, mix seemed iffy.

My rating, 2.5 stars. I think this circus has better days ahead if they choose to do so.

Swedish band Soniq Circus is little known prog act, but they released so far 2 albums their second one from 2011 named Reflections in the hourglass being the best from the two, but aswell the debut is pretty much more then ok. What Soniq Circus delivering here is a solid heavy prog album with good doses of neo prog and symphonic prog touches but all melted with prog metal accents, it sounding like a metalized neo prog in the end. So, what was fun to listen and are damn catchy are the keybords arrangements, there are rich momnts of this instrument and in combination with guitars the result is excellent. There are plenty of bombastic passages, intelligent arrangements and a pleasent voice from start to finish. The rhythm section gives the music a metal vibe and the keyboards give the music that symphonic - neo-prog touch something like Spock's Beard meeting dutch prog band Splinter, the old and new in prog is well combined on every tune. Pieces like Formula or By The Heartshaped Lake with lots of tempo changes, melodic lines, nice vocal parts, a truly inspired moments. Aswell the rest of the pieces are in same manner, all is done with good taste and intresting arrangements. I really do not know why Soniq Circus is so unknow in prog circles, what they offer here is more then good release, towards excellent in parts. To me a nice listen and for that reson 4 stars for sure.

Soniq Circus was an original idea of guitarist Marcus Enochsson and drummer Andreas Hanberger from Lund, Sweden, eventually forming a band named Telepilot 380 in late- 90's.However Hanberger would quit the next year and Marcus had to see his dream passing through numerous line-up shakes before coming true.Drummer Christer Ugglin and bassist Markus Nilsson became permanent members instantly in 2002 and 2004 respectively and in 2005 lead vocalist Calle Lennartsson was added in the line-up.In the meantime the band's fame was growing through several gigs and demos, having changed the name to T3.The latest addition was keyboardist Mathias Beckius in 2006 and T3 signed with Progress Records.Hansi Cross, the manager of the label, suggested them to change their name, so Soniq Circus were born and their self-titled debut saw the light in 2007.

The main aim of Marcus Enochsson since starting this project was to play energetic and dynamic Progressive Rock, influenced by the Classic Prog acts of the 70's.The result was partly in this vein, as Soniq Circus play some sort of powerful Heavy Prog with multiple breaks along the lines of BLACK BONZO, maybe a bit more modern, and URIAH HEEP, but with more apparent doses of complexity in the sound.The album is a fine blend of vintage memories and modern technology, sounding very fresh and passionate all the way and offering a fair amount of sudden breaks and changing climates among the series of inspired grooves.There is also some excellent vocal work by Calle Lennartsson to be found throughout the album, who has quite an impressive vocal range and really interesting color in his voice.Some cool Mellotron and organ moves stand next to the innovative use of synthesizers, resulting a damn good delivery, while the guitars are always in evidence.Add some symphonic textures to the overall powerful but still clearly proggy approach of Soniq Circus and you have an album full of tireless and rich Progressive Rock.

This is a band with huge potential, although their influences are coming constantly on the surface.Still this is pretty nicely-played Progressive Rock of great quality.Warmly reccomended.

It's funny how ones opinions can drastically change even over relatively short amount of time...

I wasn't a fan of Soniq Circus before seeing them live at Slottskogen Goes Progressive 2011. My initial opinion was based entirely on the 3-4 spins of their debut album which had some potential but ultimately was a slight disappointment considering the amounts of talent hidden within the collective. The band had, since then, made a few changes in the lineup with the most prominent one being the loss of their former lead vocalist. Marcus Enochsson is doubling both as the band's guitarist and vocalist. This doesn't seem to be much of a problem since he's quite a charismatic character who clearly knows his audience and therefore mixes in the esthetics of Peter Gabriel in his performance.

I was clearly intrigued by some of the new material that was performed at that show so giving Soniq Circus another go felt like a given. Unfortunately, my enthusiasm was shattered by the initial few spins of the hour long Reflections In The Hourglass. I even began writing down my remarks for a potential review which included memorable lines like: "...can't get in tune with the material...", "...no memorable hooks..." and "...nothing that irritates but neither impresses me too much...". It's funny how ones opinions can drastically change even over relatively short time, but fortunately it did and I actually began to enjoy what was offered on this release.

Granted that I'm still not too keen on the two opening tracks, the album really begins to shine with the relatively short but very memorable Actor, followed by the masterpiece Shadow Dance. This track has everything I love about Soniq Circus like vibrant buildups, quirky lyrics and memorable instrumental moments, but most importantly, it doesn't overstay its welcome even when considering the 8+ minute composition format!

The album continues on a few more high notes with both By The Heartshaped Lake and Learning To Talk being very strong progressive compositions that keep my interest up leading up to the final highlight Outside The Hourglass 4am. This is simply a triumphant conclusion to this loosely linked concept album that almost makes me interested in the proposed idea of listening to the album in real time between 3 and 4 AM, but I'll take a raincheck for the time being.

Soniq Circus have clearly created a solid progressive rock album that I'm sure that fans of both Symphonic Prog and Heavy Prog will find very appealing. Give Reflections In The Hourglass a go if you haven't done so already!

***** star songs: Actor (5:11) Shadow Dance (8:33) Outside The Hourglass 4am (7:39)

*** star songs: By The Heartshaped Lake (11:04) Learning To Talk (7:32)

*** star songs: Inside The Hourglass 3am (7:53) Formula (9:51) Childbirth (2:34)

I began listening to Soniq Circus fairly recently as a part of my preparation for the annual Slottskogen Goes Progressive festival in Gothenburg, Sweden. Their debut album was available on Spotify and I gave it a few spins before taking my cross country trip to our western capital. My initial reaction was that this was a pretty forgettable record that featured a district prog sound but lacked any sense of originality. This is something that I feel that many of the modern Swedish prog bands are unfortunately being accustomed to, with the Flower Kings being the prime example of that.

The first track to actually receive some of my attention was Bright Future, which features memorable keyboard work and dual vocals from Calle Lennartsson and Marcus Enochsson. The composition does lose some of it's momentum halfway through the track due to a sudden shift in direction but eventually returns to it's humble beginnings towards the end. Revolution is memorable for it's surprisingly strong melody and Genesis inspired interludes, but there is something that holds me back from completely enjoying the performance. Maybe it's the poor production quality or the general direction of the composition that doesn't try to avoid the standard song build up?

This is when we're finally introduced to the album's most eclectic performances with both The Idiot and especially Chain Of Consequences finally showing that Soniq Circus has an identity of their own. Unfortunately, this realizations a bit late on the album. Even if I really enjoy these two compositions, it's just not enough to make this record anything more than a pleasant but somewhat forgettable experience that gives us an indication of a band breaking out of their shell.

**** star songs: Bright Future (8:26) Revolution (5:10) An Idiot (8:23) Chain Of Consequences (8:58)

*** star songs: Overture (3:14) Welcome (4:44) Colliding Stars (8:47)

The following takes place between 3am and 4am. Events occur in real time.

Sweden is a land of many things: Vikings, flat-pack furniture, great meatballs, and of course prog. Bands like Anglagard, Opeth, Pain of Salvation, Atlas, Karmakanic, The Flower Kings, Beardfish, Moon Safari, Galleon, Kaipa, Meshuggah, Therion and more have turned Sweden into something of a prog hotspot. Emerging from this prolific nation are Soniq Circus, consisting of Marcus Enochsson on guitars and vocals, newcomer Marco Ledri on keyboards, Markus Nilsson on bass and Christer Ugglin on drums. This is the band's second album, since their eponymous debut was released in 2007.

'Reflections in the Hourglass' is a concept album about a man who wakes up in the middle of the night and reflects on his life since he cannot get back to sleep. We follow our protagonist's thoughts in real time, in a similar manner to the TV series '24'. The album is 60 minutes long and begins with three bell chimes to signal 3am and ends with four bell chimes to signal 4am, helping to strengthen the concept. In the CD booklet, each page shows the timeline between 3am and 4am, giving the times when each track would start if the album were played at this time in the morning. Moreover, the CD itself has a clock face with eight hands pointing to the eight starting times of each song.

While the band can be classified as heavy prog, the music is rather light for the genre, and more melodic. In the booklet, Ledri can be seen wearing a Dream Theater t-shirt, but no obvious DT influences can be seen besides the frequent use of odd time signatures. There are no long intricate instrumentals to be heard; the singing in English dominates this album.

Despite having a good songwriting style and adequate musicianship, the group have neglected to write any killer material for this album ? stuff that really hooks you in without letting go. The first and last tracks are the best as they contain great verses and choruses and hold the album together. Other good songs from the album include the odd meter-riddled Actor and the epic, diverse Shadow Dance. Sadly though, nothing on the CD really stands out or impresses me and I feel like the group are playing just a little too safe.

Strangely enough, this album has become the closest example of what I'd call 'prog standard'; if there was ever an average album in the progressive sphere, this would be it. Although the 'hour' concept is a great idea, it's not as fleshed out in the music as I would have liked. This is a nicely produced, stylish album but there's little to keep me coming back for more.

This Swedish band started under the name TP3 but in 2006 the band changed it into Soniq Circus. In September 2007 they released their eponymous debut CD that contains both early as new work (total running time at about 45 minutes).

Their sound on this CD is mainly in the realm of the neo-prog with pleasant atmospheres but the music fails to keep my attention all the time. I enjoyed Bright Future (tasteful work on guitar and keyboards like the clavinet) and the dynamic songs Revolution (from dreamy and compelling to bombastic) and An Idiot (strong break with fiery guitar and lush organ and a synthesizer solo with propulsive guitar riffs).

A nice and pleasant debut CD but in my opinion Soniq Circus has to make more captivating music to compete with the many good new bands. I am looking forward to a second effort.

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