CYCLOTHYMIA

The band Numen Coming from Alicante was founded in 1992. Cyclothymia is his third studio work, preceded by Numenclature (2014) and the debut Samsara (1998).

With Cyclothymia or prior to its launch, there were a number of changes: first, guitarist Antonio Valiente was replaced by the current Marcos Bevia. The rest of the members remain constant over time; César Alcaraz (voices), Víctor Arques (bass), Manuel Mas (keyboards) and Gaspar Martínez (drums).

Second, since Cyclothimia, Numen signs with the record label Mylodon Records.

"The album talks about the moods that human beings can go through, in the cyclical sense of the word. Anyway, we want people to be able to make their own interpretation and can take the lyrics to their field. It is a very eclectic work, with very different themes between them, with the importance of always to the melody "- commented Gaspar Martínez.

So, therefore, is how Numen faces this 2019: working on a lyricism that serves as both poetic and environmental support, and that operates as a vehicle for musical scores. It is, indeed, dark, although at first glance it may not seem so (because the artwork is a beautiful color). However, once we dive into the round, we can verify this idea that Martínez has wanted to convey to us.

Cyclothymia reminds me of a series of groups set in progressive rock and sometimes in the Neo-Prog; like Unreal City, Huis or Marillion.. But above all, Cyclothymia remembers Numen, with that incisive and delicate pointillism that the quintet has worked as a sign of identity.

'The Man with the X-Ray Eyes' is the beginning of the tour. It is a compendium of keyboard arrangements and rhythmic setbacks that occur with vocal parts, distorted in the first minutes.

With 'Some Faith' the classic side of Numen becomes evident, since the piano is also used to add compositional richness. I must say that the second minute reminds me of the keyboards of the song 'The Web' by Marillion (Script For A Jester's Tear).

'A Cosmic Prayer' presents, as the name anticipates, cosmic scratches, whose intricate nature evoke Rush in '2112'.

In 'Cyclothymia' the dark and melancholic mood that the quintet wishes to reflect in this round becomes more evident. I would say that the keyboards play a fundamental role in the work, either by brushing the rear as in the form of a main dish leading the entire sound network. The tempo changes are also noteworthy, and halfway again it changes third. In this part, the melody acquires a more direct conception and a dreamlike intonation in the last minutes.

'Lady of the Winds' develops the "British progressive" side, but without undoing the other aspects. I want to say that 'Lady of the Winds' also plays with other aspects and other instruments such as the acoustic guitar. 'Footprints' closes Cyclothymia with a dose of Neo-Prog Arena style, dotted with reflective notes.

In short, Cyclothymia is more than worthy work that deserves to be heard, since it will not leave you indifferent. Hopefully the hiatus that was years ago in Numen will not be repeated, and continue to delight us with new works.