Cynic - Kindly Bent to Free Us (2014)

If there's one thing I wouldn't have expected of a new Cynic album, it's that it heavily remind me of, or felt like some stylistic retrogression towards anything they'd released in the past. That's not to imply that Kindly Bent to Free Us lacks fresh ideas or an arsenal of riffing structures we hadn't heard from them before, but with each new listen through this I kept thinking as if it were just an amalgamation of Traced in Air and the Carbon Based Anatomy EP. On paper, that looks pretty good, since I enjoyed both, but after a strong initial impression this turned out not to have the staying power I really wanted. To be fair, the gulf between Focus and Traced was so enormous that it would have been silly to expect such progressively-inclined musicians to repeat themselves, and the gap between full-lengths #2 and #3 was far shorter, so the aesthetic similarities make sense, I just predicted a much more expansive evolution and didn't get one, so poo on me.

If anything, Kindly Bent to Free Us bridges Cynic back towards a slightly more mechanistic variety of winding, dingy metallic grooves that counterbalance the soothing Beatles-esque vocal harmonies; a clean and tidy style which can sustain the natural variety, experimentation and ambiance with which they play. I mean, there is still nobody who truly sounds like Cynic...they are a league unto themselves and will live or die by their willingness to either succeed or cede to what they've previously offered, and I found this the least impressive of their long players, with the caveat that it undeniably provides a few curious listens through. The drums and bass are superb, the guitars busily constructed if not entirely catchy, and this is probably a more technical and 'metal' direction than Traced in Air, though it shares the same proclivity to lapse into these somnolent passages of cleaner guitars that sound like 90s prog rock lite. A number of the songs like "Moon Heart Sun Head" sounded like Yes or Watchtower being filtered through later 90s era Queensryche or Jellyfish, and a cloying haze of 'hippie enlightenment' seems to hover over their composition, but it's still a case where you can never quite predict the blueprint of an individual track, only that the vocals will remain consistently melodic and not too catchy throughout the 42 minutes.

It sort of saddens me that each consecutive listen to this evokes an even further negative reaction, so it might just be best if I don't revisit it next week, or the one after that. I like a lot of the subtle processed effects and nuances which either lead into the tracks or supplement their depths, more than the riffs, vocal hooks and choruses themselves, and that's not really a good sign. I kept pining for a joygasmic song like the ill-titled "Elves Beam Out" or "Integral Birth" but they're just nowhere to be found, even though Kindly Bent is very clearly clogged with efforts to capitalize on similar motifs. In the end, I had to console myself that this was merely a 'good' Cynic record for a few spins, but very quickly forgotten about when I break out any of their earlier works I own. It's also unlikely to generate any of the divisive buzz that surrounded their reunion earlier this millennium, since there is no real surprise or advancement upon what they've already produced. A shoe in for the appreciation of prog metal nerds who care more about smooth sailing and the showcasing of musical talents, but the older material went beyond that into a realm of obsessive, explosive passion that seems to be replaced here with a little bit of studio gloss and familiarity. Good, but never 'good enough' for a creative outlet like this which inspires such high standards of divergent sonic exploration.

Verdict: Win [7/10] (absorbed into a fossil site)

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Cynic - The Portal Tapes (2012)

I'm not exactly sure why Sean Reinert and Paul Masvidal thought it appropriate to release this material under the Cynic brand. Perhaps to dry up any potential confusion with the dissonant Australian death metal band Portal, or perhaps because in retrospect they've decided this should be incorporated to the lineage of their primary project. To be fair, though, The Portal Tapes, a re-issue of the extensive demo (album length) they produced in 1995 with singer and keyboardist Aruna Abrams does showcase the evolutionary shift between their debut Focus and its 15-year younger successor Traced in Air. But a warning to the potential purchaser: if you're expecting the synthetic complexity and arrangements of the debut, rooted in the jazzy death and thrash metal niche they, Atheist and Hellwitch were molding into the Florida scene, then it's possible you will be highly disappointed.

Portal was essentially a lighter, more ethereal abstraction of the Focus sound, with almost all its metal components eliminated aside from a few heavier chords and leads. Aruna Abrams brought a new dimension with her often haunting, but generally well rounded inflection that wouldn't be out of character for someone like Sarah McLaughlin, though Abrams doesn't have quite the same range. A bit of a dreamy lounge lizard aesthetic as she coordinates with Paul Masdival's dirtier, drearier tone, but then it's this balance of relaxation and subtle technicality happening in the composition that really makes Portal's sound enjoyable. Chris Kringel's flowing, memorable bass lines here are certainly redolent of Sean Malone from the better known Cynic, but the guitars were recorded in a generally clean tone that was so prominent in 80s prog rock, sliced through by meticulous leads that forsook self-indulgence in favor of the songwriting.

I remember there being a fairly sour reaction to this material since it drove the duo away from the heavier fusion featured on Focus, and as we all know the narrow swath of tolerance found in many pundits of underground extremity is unlike to be overcome when a favored artist's sound evolves so dramatically, but they were wise originally to advertise this as a separate band: a practice that they've now eschewed since this material makes a lot more sense in the context of Traced in Air or the more recent Carbon-Based Anatomy EP. Of the 10 songs here, I'd say that at least a half dozen were catchy, whether being heavily driven by Abrams or more of a joint effort with the male-female interchange. An atmospheric accord of guitars, bass and light but dynamic percussion that is certainly comparable to the more accessible sequences they've fit into their post-reunion writing, and songs like "Karma's Plight", "Mirror Child" and "Belong" have a lush airiness to them which might certainly appeal to a cross section of jazz/pop addicts or prog Gothic rock of the less intense variety.

But, as they say, 'it is what it is'. If you harbor an innate opposition to Cynic's material post Focus, then there's not much reason to pursue The Portal Tapes. It's not metal. If, on the other hand, you're a follower of the same existential prog rock, jazz and ambient influences that the band explored in their side projects or on the recent Cynic, then this might prove a 45 minute treat for your senses. It's a little adrift, a little hippy. Numerous of songs feature structures that are a fraction too similar, consistent but not all equally memorable. In sum I'd grade it as a pleasurable listen. Didn't love it, but I did like it, and it's not at all deserving of the unfathomable ire it once provoked from those desperately seeking Focus 2.0. And finally having it all in one 'official' place (a few of the tracks were included on the 2004 Roadrunner reissue of Focus) is not a bad thing.

Verdict: Win [7.25/10] (an inner world of obstacles)

http://www.cyniconline.com/

Cynic - Carbon-Based Anatomy EP (2011)

The excellent cover art to Cynic's new Carbon-Based Anatomy EP might deceive one into thinking they had dialed their style back to the progressive, labyrinthine death metal of their 1993 debut Focus, but that's not at all the case here. Having been severely disappointed with last year's Re-Traced EP, which served as a poppy and wimpy deconstruction of several tracks from their excellent Traced in Air album, I am satisfied to say that this is all new material, and much of it quite good. If anything, Cynic have all but drifted away from the technical thrash and death roots to snug comfortably into this hybrid of prog and post-rock, with an even huger dedication to the influence of world music that they've shown on either of their full-lengths.

Granted, it would be unlike Cynic to backtrack. It's just not in the nature of these musicians to move in any direction but forward (stylistically), and this new EP is no exception. But they do hang on to some of their core characteristics, namely Sean Reinert's dynamic drumming and the fusion influence in Paul Masdival's guitars. There are very few moments here that even hinge on the band's former metal genre, with the exception of some of the ramped up chords in the title track or the manic, melodic tremolo sequences that crash through the jamming "Elves Beam Out". The real focus here, however, is the vocal arrangements, which are quite fantastic. Paul's got this amazing, clean voice somewhat similar to Steven Wilson of Porcupine Tree, but a lot of layered harmonies are strewn about the material similar to post-rock outfits like Efterklang, and it's simply remarkable to experience. Female vocals are also incorporated into the ethno ambient intro and interlude pieces "Amidst the Coals" and "Bija!", the latter a percussive, worldly romp.

My favorites are easily "Carbon-Based Anatomy" and "Box Up My Bones". The former for the climactic business of the bass-lines and the ambient backdrop that functions beautifully alongside the smooth escalation of the vocals, and the latter for all those reasons and more. There are a few guitar lines that function like synthesizers in the background of "Box Up My Bones" which create an insanely elegant atmosphere, and I also enjoyed the guest whispers used to counterpoint the lead vocals in the bridge, and the sifting from cleaner toned guitars to jamming variation. "Elves Beam Out" also warrants a mention for the great, spacey splash to the percussion and the sheer energy, even if the name is a bit of a throw off. Next to these, I'm not sure the female fronted pieces really measure up, nor the heavily ambient, scintillating outro "Hieroglyph", but at the least they provide some captivating transitions.

Carbon-Based Anatomy is not likely to satisfy fans of the old Cynic who have been ruing their decision to drift well beyond the metal sphere, but then, this minority probably didn't enjoy the long anticipated sophomore effort either when it arrived in 2008. Personally, I found the songs here to be growers regardless of the band's incessant transformation, and though the lyrics seem simpler than past works, they maintain the existential character the band have long championed. The production is extremely clean and accessible, as are most of the vocal line melodies, but the Florida band still implements numerous layers of complexity into their composition, and what's most important, you actually feel like you're on this journey WITH the band, rather than being outpaced by their staggering proficiency. Very enjoyable, but don't expect "Veil of Maya" or "The Eagle Nature".

Verdict: Win [8/10] (leave your arms behind)

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Cynic - Re-Traced EP (2010)

I might be in the minority of Cynic listeners who actually found Traced in Air to be a superior effort than the band's intricate debut experimentation (Focus), but the difference in quality was only a pinpoint margin. There were myriad complaints of the band's newer direction, which was admittedly far less metallic than their 1993, and not nearly as explosive, but I think anyone expecting the Floridian fusionauts to write a repeat performance after 16 years might damn well border on delusional. Yes, they were going to change, massively. Just look at anything the members were involved in throughout the gulf, and wonder how Traced in Air managed even the slightest traces of familiarity after such a disjointed history.

For the ensuing Re-Traced EP, Cynic have gone even further into the introspective terrain they plotted out with the 2009 full-length. Do not expect much in the way of new material, though, for four of its five tracks are mere re-interpretations from that album, and wimpier versions at that. Seriously, Cynic have gotten so tranquil here, so arguably 'emo' here that one wonders why they don't just change the band name and have a go at mainstream radio. I'm all for exploration and experimentation, mind ye, but this is just a taming of the shrew, a softening of the core. Next to this, Traced By Air is positively storming. They've even taken the minimalism and watering down to the song titles, so "Space" is an electro lite retread of "The Space for This", "Integral" an acoustic/organ translation of "Integral Birth", "Evolutionary" an indie rock doppelganger for "Evolutionary Sleeper", and so forth.

Sadly, these alternate takes, while flexing the band's 'sensitive side', are nowhere near as compelling as their full-length counterparts. The clean vocals sound too wimpy in this context, wimpier even than any of Anathema's diversions from their roots. The one newer track, "Wheels Within Wheels" is superior due to its novelty and denser use of bass and overall instrumentation, but it too seems like a Pitchfork indie pick of the week. I've no aversion to Cynic writing a softer track, but these are all too forgettable. Hopefully, this is just for kicks and the band won't be pursuing such impaired avenues in the future. I can't imagine who would want to listen to this, it makes Death Cab for Cutie sound brutal.

Verdict: Fail [4/10]

http://www.cyniconline.com/

Cynic - Focus (1993)

Cynic has developed quite a legacy despite the relative sparsity of their collective output. Part of this is the involvement of constituent members in other legendary projects like Death, but much of the credit falls squarely upon the shoulders of the debut Focus. If any album was to be considered an anomaly among the burgeoning death metal scene of the early 90s, it was this one. The band had eschewed the sheer technical thrash of their earlier demos to evolve into an entity the likes which we had simply never heard. Progression had not been unheard of by this time: bands like Pestilence, Atheist and Death were clearly exploring and expanding the boundaries of the genre's definition, grafting fluctuations of form into the marrow of their compositions. But for Cynic, thinking outside the box was not some surreal infusion developed over a number of official releases: it had already been molded into their vertebrae by the time Roadrunner put this album out.

Describing the music here is almost as much a challenge as it was to first listen to it upon release. Highly technical, meandering melodic guitar lines are set in a latticework of talented jazz and rock drumming, with abundant leads set off the primary rhythmic patterns almost as tangents to the central emotions. Instead of simply growling, which might normally have sufficed, guitarist and front man has incorporated a robotic vocal filter which casts an otherworldly, cybernetic gloss over the sheen of the hectic instrumentation. The level of proficiency here is staggering. Cynic made progressive-peak Death sound like rank amateur schoolchildren, and all without the expense of losing strong songwriting values. Copious amounts of guitar synthesizer were incorporated (akin to Pestilence on their Spheres album), but most impressive is the use of the Chapman Stick. In fact, Sean Malone is the backbone of this entire recording. At times I feel like I could just crank down the guitars, vocals and percussion and just listen to his bass playing, a stunning evocation of adventurous fusion that was unrivaled at this time.

The intelligence of Focus is not only found in the music, but in the conceptual groundwork for the lyrics. Applied mythology, astrophysics, and philosophy are woven into its considerable curves, and no expense is spared in creating an ambient awning that suits each thematic extraction. "Veil of Maya" dawns with the mechanical grace of the vocals above a deeper, clean voice and busily percolated bass lines, before the chorus and guttural counterbalance arrive over a stolid miasma of precision thrashing. It's an incredibly uplifting piece, comparable to what Atheist had built on Unquestionable Presence, but more in depth. "Celestial Voyage" is perhaps best known for that snaking, incredulous opening guitar streak, but its subdued, jazzy verses are brilliant as they explode against the metallic current like stars going supernova, witness through the safety of a vast telescope, but no less beautiful. "The Eagle Nature" is marginally more choppy, with the very Death-like guitar tone cutting through it, think of it as a more advanced thesis on what Chuck was trying to achieve through Human. Love those descending vocals around :30.

Then comes "Sentiment" with its pumping bass-lines and wondrous jungle of tribal percussion and sailing, effects-driven vocals. Mid-ranged female vocals are incorporated to create a terse narrative to the musical escalation, and I just love the darkening climax around 1:30. "Uroboric Forms" is again quite similar to the material Reinert and Masvidal were performing on Human, but more intense and memorable, with further female presence, this time ethereal. However, my favorite song here might just be "I'm But a Wave to..." and its scintillating, terrifying architecture of warped synthesizers and cyclic dissonance. I wasn't so compelled by the song "How Could I": it's fascinating, but the individual melodies did not stand out among the album as a whole. As for the instrumental "Textures", it's basically a volcanic orgasm of aural conjecture, and pretty much exactly how you want to pace such a track when it doesn't have the lyrics to back it: sine waves of lucid pleasure exploding into cautious acrobatics, and then back again...

I have noted elsewhere that Brutality's unexpected Screams of Anguish was the best of the Florida death works of 1993, but Focus has one up on even that cult classic, because it simply transcends the entire genre, becomes something OTHER. Something at once beautiful and alien. There are times when I don't love the highly processed production (a similar hurdle that albums like Spheres and Symbolic also face), but Scott Burns manages not to completely cock this up. I can only imagine the guy's face when Cynic presented the material to him. How the fuck am I going to handle THIS one? That he manages to do so without losing many of the myriad nuances is a credit to his ability, though I'd advise that anyone interested lean towards the Roadrunner remaster from 2004 which sounds an inkling better. Focus is not at all a perfect offering because at times it feels as if there is almost too much happening, and one of the tunes seems to trail the rest in quality, but really there was nothing else like it and there hasn't been since...

Hell, this is such an intimidating exhibition of foresight that Cynic themselves would not deign to follow it up for quite some time. I can imagine nigh on endless nights of poring over reams of written material, hurtling it all to the trash bin on accounts of not being good enough. A lot of pensive drinking, or moving on to other projects in hopes that the time apart would somehow surpass what the band started. Ironically enough, they managed that exact feat 15 years later with Traced in Air, a revelatory if more tranquil experience which benefits from far superior and rounded production standards, though a bit of a 'grower'. Alas, the albums are as different as they are the same, and I'm happy to own and experience both on a regular basis: but Focus is the more historically potent, because it helped force open a passage that only the most daring would follow.

Verdict: Win [8.75/10] (balance every joy with a grief)

http://www.cyniconline.com/

Cynic - Traced in Air (2008)

They've long been one of the most revered bands in the US death metal underground for the forward thinking, progressive edge of their debut Focus. Now, 15 years have passed and the band has returned with a glorious second effort, having hardly skipped a beat in all that time. If anything, Traced in Air is superior to Focus because it's even more aware of its nuances, and never fails to impress.

"Nunc Fluens" begins with a fusion of world percussion and abstract, discordant guitar feedback before the bass picks up, and the subtle guitars and vocal swells. This entire tune really feels like an intro, and you almost expect them to rage out on the second track. Alas, it is not the case, "The Space for This" begins with beautiful acoustics and catchy clean vocals until it finally lets loose with a barrage of familiar Cynic progressive speed picking hysteria. "Evolutionary Sleeper" has a similar tone to it, with acoustics alternating into catchy melodic vocals. "Integral Birth" is one of my favorite tracks for its winding tempo and infectious vocals and thoughtful lyrics:

From the void, I am born into wave and particle
In the uncreative eye, emerging oracle
A million doves, orbit round the Earth with tears of blood
Slay the dragon, take Integral Birth

Also you get to hear a few brief death growls here, which could only make me smile as I realize the band is not here to sacrifice its past but to evolve upon it. "The Unknown Guest" and "Adam's Murmur" are likewise excellent, with a similar concoction. "King of Those Who Know" begins with some spacious jazz acoustics and then the beautiful "Nunc Stans" leaves us with an almost Sigur Ros, post-rock grace.

It should be noted that this album has the spectacular ability to grow on one the more times you listen. I know my first few times through it I was only mildly impressed, writing it off as 'well, that's Cynic for you'. It's not until recent months that I've been able to admit to myself that this in fact the likely candidate for progressive metal album of the year and that it honestly blows away their classic Focus. Give it a chance, give it ten chances if you must. It will capture you eventually.

Verdict: Epic Win [9/10] (if letting go means letting be)

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