AMENTI'S COIN - SECRET PLACE PT. II

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.