CYRIL

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.

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 has been an ongoing venture for just about a decade by now, formed by members of rock band Gabria when that band folded and then going onward with a bit more progressive intent under a new name. "The Way Through" is their third studio album, and was released through German label Progressive Promotion Records in the spring of 2019.

Cyril's third album "The Way Through" is arguably the most accessible album by the band so far, with liberal amounts of melodic rock and firm, traditional AOR elements given liberal amounts of room inside their specific brand of melodic, progressive rock. Perhaps not quite as convincing as their previous productions for all progressive rock fans, but those with a strong taste for the most accessible and melodic varieties of progressive rock should still find this to be a rewarding and enjoyable experience.

German band Cyril are back with their third album, and again they have collaborated with Guy Manning, so while Marek Arnold (keyboards, sax), Denis Strassburg (bass, programming) and Manuel Schmid (vocals, keyboards) provided the music, Guy provided the lyrics and story. The line-up is of course completed by Larry B. (vocals), Ralf Dietsch (guitars) and Clemens Litschko (drums). The story itself can be found hidden under the CD, and regards a patient in hospital who finds himself floating above his body looking down on himself, and in some ways reminds me of William Golding's classic 'Pincher Martin' (yes, be amazed, he did write many more books than just 'Lord of the Flies'). Only a few guests this time, including Guy himself who provides spoken word, but there is room for Martin Schnella to provide some additional guitar, which given his relationship with many in the band is no surprise at all.

This is crossover progressive rock, multi-layered like a thick blanket. The vocals are sublime, as always, while the band provide richness beneath. Just when one thinks that it is going to be just a little too cloying something happens which provides cut through, such as a saxophone, or strident guitar, while the drumming is always far more interesting than just someone keeping the beat (this is the last appearance from founder member Litschko as he has left to spend time with his young family, and he has now been replaced by Florian Graf). I have long been a fan of Marek Arnold, as his arranging skills and deployment of a sax at opportune moments are always a wonder, and I can't be the only one who regrets the demise of Toxic Smile which also featured both him and Larry (bassist Robert Brenner actually makes a guest appearance on this album as well).

When the band are on fire, such as on "Get Up High" which contains wonderful interaction between keyboards, bass and various guitars (actually making the listener think of classic Oldfield), then the music is majestic, powerful, and totally enthralling. However, on this album that isn't always the case, and "First Love (A Lullaby)" is at least two minutes too long, and even then, the band aren't sure how to end it, so fade it out. I actually think this could well work in concert where the guitars are allowed that little more frenetic cut through, but here it just drags, and I found myself looking at the player wondering just how much longer it had to go.

Cyril provide polished layered melodic progressive rock with many pop sensibilities, and while this may not be a totally essential album, is still one I enjoyed playing. They are starting to gig as well now, so it will be interesting to see what the next one is like, as that may well change their outlook.

Self-described as a melodic prog act, Cyril is a Crossover Prog band from Germany born from the ashes of mainstream band "Gabria". Founded in 2010, they have released 3 full length albums, the 3rd of which is called "The Way Through", released in April of 2019. The album is made up of 7 tracks for a total run time of 46 minutes, and the band has pretty much remained intact since the beginning. It is a concept album about a patient in a ICU unit stuck between life and death that is either in a parallel world or a coma.

"The Gate" begins with lush keyboards and acoustic guitar, but quickly comes to life with a heavy riff, swirling synths and a fast beat. After over a minute, the vocals of the dual lead singers come in, both of which are decent singers for this style of dramatic music. The music is melodic, as promised, the melodies are fairly easy to follow, but moods and textures change enough to keep everything interesting. The instrumentation has enough variety so that it doesn't get overly predictable, but the song structure is straightforward enough to keep things accessible. It is a bit disappointing that it fades out at the end when it could have continued with a nice jam. But the fade out should have been a fair warning for me. "My Own Reflection" however ups the pop quotient in the vocals that seem a bit boy-band-ish. That great pop/progressive balance that was hinted at in the first track steps to far over the pop boundary by a bit too much. The soft sax solo doesn't really work to its favor either, as you wonder if Kenny G stepped in to provide some maturity to the sound (hack/cough!). Even the twinkling piano solo won't save it. A nice level of intensity is eventually reached though and an upbeat guitar solo results from it, but it fades to schleppy symphonic synths and then ends.

"First Love [a lullaby]" has the option to either continue with the interesting sound that was established in the first track, or go with the way to poppy sound of the 2nd track. Unfortunately, it picks the latter. The lyrics are too corny and the melody is too bright and plastic sounding. For a track that is over 8 minutes, I was hoping that it would be better, but things seem to be getting worse. Also, just because the word lullaby is said over and over in a song doesn't make it a lullaby. It's actually a syrupy nightmare. Another 8+ minute track "Get Up High" follows. So does more bad sax and pop drivel. Halfway through, we get some promise as a long tense section develops into a nice heavy and even somewhat progressive interlude results, after which a nice piano section follows, but then the vocal melody returns and you remember where you started. Their heart was in the right place at least, but the melody just doesn't help retain that short-lived excitement.

"A Sign on the Road" seems to take it's inspiration from Peter Cetera in his pop years, even down to the electric piano, acoustic guitar and lounge-y sax. Ick. "The Wasteland-Home Again" is more upbeat, but needs to use less syrup. Again, not good. "The Way Through?" ends everything for the album. And, early on, all hopes that a good song might save this album are dashed, even if it is mostly instrumental. The romantic sax just doesn't work anymore.

Some pop lovers might be attracted to this album, but it is not my style. Pop and prog can go together as many other bands have proven, but Alan Parsons at least had years of experience under his belt before he did it. This is just way too slick and schmaltzy. Except for a few interesting passages, there isn't anything that can really save this album. My suggestion is to just skip this one. Even your kid sister will think this sounds dated with the creepy-old-guy sax.

German band Cyril came into existence in 2010 when former members of melodic rock band Gabria decided to move their music in a different direction. Keyboard and sax player Marek Arnold (Toxic Smile, Seven Steps To The Green Door, Flaming Row etc.) and I have been in contacted quite a bit recently, and he kindly sent me everything he has been involved with, which means that I am now catching up their last album, 2016's 'Paralyzed'. I reviewed their 2013 debut 'Gone Through The Years' when it was released, but hadn't got to this one as it had been released while I was on an enforced break from reviewing while I was putting together a book of all my reviews from 1991-2006, but I did really enjoy that one, so was looking forward to this.

I wasn't disappointed, as yet again it reminds me very much of Nineties-style Jadis, although it is also quite different, but there is something in the melodic and laid-back approach that really works here. The vocals are spot on from Larry Br'del (Toxic Smile) and Manuel Schmid, guitarist Ralf Dietsch has a wonderfully delicate touch not too dissimilar to Andrew Latimer or Gary Chandler, Clemens Litschko is an unsung here at the back with powerful drumming indeed, while Denis Strassburg hangs it all together on bass. But what makes the real difference here is the work of Marek, who not only uses a multitude of keyboard sounds and piano, but is also provides woodwind that allows the band to have that extra element, that extra touch of class.

As with the debut, this is a wonderful melodic progressive rock album that is immediate on first hearing, yet also rewards those prepared to put in the time and listen to it carefully and repeatedly. Great stuff.

On Paralyzed, Cyril continue with the melodic rock-hard rock mixture of their first album Gone Through Years. Retains the occasional use of woodwinds and mandolin that were hallmarks of its sound on the first album. Songs are maybe on the whole a tad softer, and also more expansive, but close enough. Another vocalist was added, so, two main voices now. This is catchy stuff, and not straightforward, too, although I feel that the more extended pieces get repetitive. The most extended piece, the 18-minute Secret Place is apparently a first part of a longer epic. And that's good, since on itself it doesn't stand - just a succession of different moods (and lifted from the likes of Yes and Pink Floyd) not really tied together.

Another German project involving Marek Arnold of the Seven Steps to the Green Door, Toxic Smile etc. fame. Also shares the "gruffer Phil Collins" vocalist from Toxic Smile. This one is geared towards melodic rock style, accented by an occasional clarinet, sax or a classical guitar, but also venturing towards anthemic hard rock territory. A concept album inspired by the Time Machine novel of H.G.Wells. Almost sounds as if quintessentially English (what is more English than "oh my sweet Alice"?). A very amicable, and not-as-simple-as-it-looks listen, but one that you would probably not revisit too often, for the formula of starting pleasant and folkish before going into hard rock can get old.

I must admit I fell in love with this CD as soon as I put it on. Highly emotional, melodically rich, a labor of love and powerful debut are some of the expressions that come in mind when I tried to define this record during the few last weeks when I head it in a daily basis. Although this is their first album under this name and with vocalist Larry B., the core members of the band comes from another combo called Gabria. And that might explains how they sound so tight and the compositions are so mature and strong.

The music of Gone Through Years is a progressive music that ties different styles together with seamless precision: styles as diverse as symphonic prog, jazz, flamenco, classical music and hard rock. Their former pop rock past make the presence felt by the strong hooks and their incredible sense of melody. Still Cyril is now a full fledge prog band: all the tracks have many twists and turns, mood and tempo swings, that won´t ever get them any pop radio time. Also, it seems that they based the album concept on H.G. Wells Time Machine book, but I´m not really sure. Anyway, the results are absolutely awesome, with a accessible sound that it is also daring and original. They don´t remind me of any other band I know.

What strikes me more on this CD is their combination of skillful playing, exquisite compositions and clever arrangements. Nothing is overdone here: every note seems to fall into the right place every time. The use of sax and clarinet (courtesy of their keyboardist Marek Arnold) is one of the finest since Supertramp´s heyday. Ralf Dietsch is a master of both electric and acoustic guitars, while singer Larry B deliver the words with passion and conviction. In fact Gone Through Years is so good is hard to point a highlight. During the past few weeks I heard the CD from start to finish without skipping single track all the time. The production is crystal clear: perfect for the complex and subtle music they deliver.

Rating: personally, I´d like to give this album a 5 star rating, but let´s be fair, it´s their first one and surely I hope they evolve into something even bigger. So, 4,5 stars is my final rating. This german band is a great find. If you like melodic progressive music with lots of personality, you cant´miss this one.

Highly recommended!

German band CYRIL was formed in 2010 by former members of melodic rock band Gabria, who at that point desired to explore a style of music a bit more sophisticated than the one they had taken on in their former band. They released their debut album "Gone Through Years" in 2013. "Paralyzed" was released in the late spring of 2016, and is their follow-up production. Just like their initial CD, it was issued by the German label Progressive Promotion Records.

Those fond of sophisticated yet accessible and most of all melodic progressive rock should take note of this band and this album. While perhaps not as challenging fare as any of the classic progressive rock bands, this contemporary take on the more accessible side of the genre is well worth a listen, and perhaps especially by those who have a tendency to enjoy progressive rock of the kind that might also interest a more mainstream oriented audience.