MANNEQUIN

"Taste the Day" begins acoustically, an innocent nursery rhyme base with synth buzzing in the background, opening before the segue "Showtime" launching an energetic synth-pop-rock sound; DURAN DURAN, funky trumpet in the background, cinematic of a video console game, all on a swirling melodic instrumental that sets fire. "Illusions Inside" for the first track and powerful hard synth-rock sound; singer Dominique Gilbert gives the vocal charm with Shelby on this musical structure; the new wave sound of the 80s enhanced with a powerful groove, the reverberating synth reminiscent of SIMPLE MINDS, the riff of NINE INCH NAILS, PRODIGY. "Esoterica" continues, the best thing about the album is the concept; a flashy sound on 'The Invisible Man' by QUEEN, the tune takes on a lascivious nightclub atmosphere where bodies bob; a hint of PURE REASON REVOLUTION, a lively piece with well-arranged vocals, a crazy gem to dance without moderation; Canyo's airy sax touch is striking, future electronic-rock-pop-prog that doesn't bother with vintage prog markers. The funk riff is delightful and the ending is perfectly progressive. "The End in Mind" changes tone with a light air rising over frenzied drums; energy, a heavy riff, a bursting break with bass synths, burlesque madness one moment and gripping melody the next; on the verge of a symphonic disco djent with an invasive groove; another ambient break on a synthetic DREAM THEATER where Jordan would have taken John's place. Back after this crazy moment to the surfing tune of MUSE, to try to explain that creation is important.

"Digital Fear" continues, ah this pleasure of stuck titles; the John Carpenter-style instrumental, a space heroic- fantasy moment with digital sound, on the cinematography of 'Blade Runner', in fact eyeing VANGELIS until the final NASA voice. "Ghosts of You" but what is PRINCE doing here? A fruity funky pop air, a hint of EARTH, WIND & FIRE, Phil COLLINS for the danceable, confusing piece, don't they go too far? The break starts with Michael JACKSON with Eddie's solo, a 90's sound, diversified to the end so you always have to listen. Segueing into "Liminal Space" which is stunning from the start with its title indicating an uncertain space of transition; jewel title pushing the proguous and administering the new sound in his face; an airy trumpet, brass, where are we going, but in today's dazzling synth prog; reek of SIMPLE MINDS, MUSE for a captivating musical alchemy; the radio edit title which clears up our preconceived ideas about what current prog is. "Technology Killed the Kids IV" robotic intro, cool vocals; the linking title on each album takes the listener to the uncontrolled land of prog; a thunderous chorus, melodic synths, lit drums, a swirling, inventive and immensely progressive track; the TOWNSEND-style riff with the musical wall; the latent heavy doom break, a Japanese note, overboosted prog metal, extreme, without boredom; the finale, this choppy sound, reminiscent of stuck K7 tapes losing their soul, a delight. "Have Hope" concert hall synth intro! A melody that slips with the incursion of an extreme heavy sound; the dichotomy is blatant and plays on the fusion of genres between complex rhythm and various explosions, devastating solos and intense orchestration. Orgasmic musical chaos. "Esoterica" in radio edit for the pleasure of dancing to prog, where the sounds remind me of boosted YES from the 80s.

KYROS plays maximalist prog synth-pop rock, vacillating between ELP at the start, YES, RUSH, FROST*, HAKEN, VOYAGER recently and new-wave groups such as DURAN DURAN, INXS, SIMPLE MINDS, DEPECHE MODE and PRODIGY with hints of Devin TOWNSEND for the fury, others for FRANKIE GOES if they had continued, still others for the synthetic alternative.(4.5)

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