Para iniciar esta resenha, é importante destacar que antes de se tornar Kyros, o projeto era conduzido pelo multi-instrumentista Adam Warne—que após sua transição em 2021, passou a se chamar Shelby Logan Warne. O projeto era conhecido como Synaesthesia, nome sob o qual foi lançado o primeiro álbum. Além de Shelby, o guitarrista Nikolas Jon Aarland também fazia parte do projeto. No entanto, a banda estava prestes a se transformar de um simples projeto solo em uma formação sólida, algo que de fato aconteceu. Embora Nikolas não tenha permanecido para a conclusão do álbum, sendo substituído por Ollie Hannifan, que gravou as guitarras restantes.
Mannequin é o quarto álbum da banda que optou por considerar o disco de estreia Synaesthesia como uma obra solo de Shelby, o que faz sentido dado que sua sonoridade difere bastante dos trabalhos subsequentes. Esse primeiro álbum marcou um recomeço, justificando até a mudança de nome.
Os músicos que participaram de Mannequin são Shelby Logan Warne (vocal e teclados), Joey Frevola (guitarra), Charlie Cawood (baixo) e Robin Johnson (bateria), com a participação especial de Dominique Gilbert nos vocais em "Illusions Inside" e Canyo Hearmichael no saxofone em "Esoterica". O álbum está repleto de ideias complexas, principalmente nas passagens progressivas, que dividem espaço com elementos de synth pop, art rock e rock alternativo. Em resumo, Mannequin é um disco que exige várias audições para ser totalmente desvendado, mas que também é acessível para diferentes públicos graças à sua mistura de estilos.
O álbum começa com "Taste the Day", uma faixa suave que combina violões e vocais sensíveis, acompanhados por teclados que criam uma atmosfera bucólica. É a faixa mais curta do disco. "Showtime" é uma peça instrumental que traz energia desde os primeiros segundos, com sintetizadores que abrem caminho para os demais instrumentos, conduzindo a música de forma dinâmica. Perto do final, há uma pausa antes de uma breve retomada com destaque para o baixo. "Illusions Inside" segue com ataques de bateria e sintetizadores que se fazem presentes ao longo de toda a faixa. A interação vocal entre Shelby e Dominique Gilbert é cativante, especialmente nos refrãos, que convidam o ouvinte a cantar junto. As linhas de baixo são impressionantes e merecem ser ouvidas com bons fones de ouvido. "Esoterica" transporta o ouvinte para os anos 80, com seus sintetizadores e guitarras criando uma atmosfera divertida e dançante, mas também emotiva.
"The End in Mind" se destaca pelo seu interlúdio pesado, onde a seção rítmica brilha com uma performance sagaz, enquanto as guitarras e teclados criam paredes sonoras intensas. É uma faixa repleta de ondulações, que altera o humor do ouvinte várias vezes e que definitivamente se destaca como um dos melhores momentos do álbum. Após a intensidade de "The End in Mind", "Digital Fear" oferece um momento de recuperação, com uma delicadeza envolvente que poderia facilmente ser trilha sonora de um filme de ficção científica. A peça se desenvolve dentro de um tema sinfônico, atmosférico e quase psicodélico, graças principalmente ao trabalho de teclados e sintetizadores.
"Ghosts of You" retorna ao synth pop, mas com acenos progressivos. A cozinha se destaca mais uma vez, unindo-se ao teclado para criar uma sonoridade agradável e dançante, quase como um Jamiroquai mais pesado. "Liminal Space" segue com uma instrumentação cintilante e sonoridades eletrônicas, entregando uma harmonia synth-pop progressiva que a banda executa com maestria. "Technology Killed the Kids IV" é uma faixa que mostra claramente porque o rock progressivo é um dos gêneros associados à Kyros. Cheia de mudanças e variações, a peça é tão tempestuosa e explosiva que, próximo ao final, os fones parecem falhar—um truque brilhante da banda para criar uma cacofonia bem orquestrada e impetuosa.
O álbum encerra com "Have Hope", a faixa mais longa, com quase 8 minutos. É uma peça cheia de modulações, que combina linhas comuns com trechos de "desordem" musical. A guitarra é mais agressiva aqui, enquanto a seção rítmica se mantém consistente, e os teclados criam momentos sinfônicos, psicodélicos e acenos ao synth pop. Um final de álbum digno.
Mannequin é aquele tipo de disco que está sempre em constante evolução e explorando uma infinidade de direções. Contudo, a banda faz isso com uma simetria que evita que sejam vistos como músicos perdidos ou indecisos. Muito pelo contrário, essa montanha-russa de ideias resulta em um direcionamento musical sólido e bem característico. Com isso, Mannequin oferece material suficiente para entreter o ouvinte do início ao fim.
================================To begin this review, it's important to highlight that before becoming Kyros, the project was led by multi-instrumentalist Adam Warne—who, after transitioning in 2021, became Shelby Logan Warne. The project was originally known as Synaesthesia, under which the first album was released. Alongside Shelby, guitarist Nikolas Jon Aarland was also part of the project. However, the band was on the brink of transforming from a mere solo project into a solid formation, which indeed happened. Although Nikolas didn’t stay for the album's completion, he was replaced by Ollie Hannifan, who recorded the remaining guitar parts.
Mannequin is the band’s fourth album, which they chose to consider as their debut under the name Synaesthesia as Shelby’s solo work, a decision that makes sense given how different the sound is from their subsequent releases. This first album marked a new beginning, justifying even the change of name.
The musicians who contributed to Mannequin are Shelby Logan Warne (vocals and keyboards), Joey Frevola (guitar), Charlie Cawood (bass), and Robin Johnson (drums), with special appearances by Dominique Gilbert on vocals in "Illusions Inside" and Canyo Hearmichael on saxophone in "Esoterica", The album is packed with complex ideas, especially in the progressive sections, which share space with elements of synth-pop, art rock, and alternative rock. In summary, Mannequin is an album that demands multiple listens to be fully unraveled but is also accessible to a broad audience thanks to its blend of styles.
The album opens with "Taste the Day", a gentle track that combines acoustic guitars and sensitive vocals, accompanied by keyboards that create a pastoral atmosphere. It’s the shortest track on the album. "Showtime" is an instrumental piece that bursts with energy from the first seconds, with synthesizers paving the way for the other instruments, guiding the music dynamically. Near the end, there’s a pause before a brief reprise, with the bass taking the spotlight. "Illusions Inside" follows with strong drumming and synthesizers that are present throughout the track. The vocal interaction between Shelby and Dominique Gilbert is captivating, especially in the choruses, which invite the listener to sing along. The bass lines are impressive and deserve to be heard with good headphones. "Esoterica" transports the listener to the '80s, with its synthesizers and guitars creating a fun, danceable, yet emotional atmosphere.
"The End in Mind" stands out for its heavy interlude, where the rhythm section shines with a sharp performance, while the guitars and keyboards create intense walls of sound. It’s a track full of undulations that change the listener's mood several times, and it definitely stands out as one of the album’s best moments. After the intensity of "The End in Mind", "Digital Fear" offers a moment of recovery, with an enveloping delicacy that could easily be the soundtrack to a science fiction film. The piece develops within a symphonic, atmospheric, and almost psychedelic theme, mainly thanks to the work of keyboards and synthesizers.
"Ghosts of You" returns to synth-pop but with progressive nods. The rhythm section stands out once again, joining forces with the keyboard to create a pleasant, danceable sound, almost like a heavier Jamiroquai. "Liminal Space" follows with shimmering instrumentation and electronic sounds, delivering a progressive synth-pop harmony that the band executes masterfully. "Technology Killed the Kids IV" is a track that clearly shows why progressive rock is a genre associated with Kyros. Full of changes and variations, the piece is so tempestuous and explosive that, towards the end, the headphones seem to malfunction—a brilliant trick by the band to create a well-orchestrated and impetuous cacophony.
The album closes with "Have Hope", the longest track at almost eight minutes. It’s a piece full of modulations, combining common lines with moments of "musical disorder." The guitar is more aggressive here, while the rhythm section remains consistent, and the keyboards create symphonic, psychedelic moments with nods to synth-pop. A fitting album closer.
Mannequin is the kind of album that is constantly evolving and exploring a multitude of directions. However, the band does this with a symmetry that avoids making them seem lost or indecisive musicians. On the contrary, this rollercoaster of ideas results in a solid and well-defined musical direction. With that, Mannequin offers enough material to entertain the listener from beginning to end.
NOTA: 8/10
Tracks
Listing:
1.
Taste the Day (2:26)
2. Showtime (4:10)
3. Illusions Inside (5:09)
4. Esoterica (6:55)
5. The End in Mind (7:41)
6. Digital Fear (3:35)
7. Ghosts of You (5:02)
8. Liminal Space (4:39)
9. Technology Killed the Kids IV (7:26)
10. Have Hope (7:57)
Ouça, "The End in Mind"
To begin this review, it's important to highlight that before becoming Kyros, the project was led by multi-instrumentalist Adam Warne—who, after transitioning in 2021, became Shelby Logan Warne. The project was originally known as Synaesthesia, under which the first album was released. Alongside Shelby, guitarist Nikolas Jon Aarland was also part of the project. However, the band was on the brink of transforming from a mere solo project into a solid formation, which indeed happened. Although Nikolas didn’t stay for the album's completion, he was replaced by Ollie Hannifan, who recorded the remaining guitar parts.
Mannequin is the band’s fourth album, which they chose to consider as their debut under the name Synaesthesia as Shelby’s solo work, a decision that makes sense given how different the sound is from their subsequent releases. This first album marked a new beginning, justifying even the change of name.
The musicians who contributed to Mannequin are Shelby Logan Warne (vocals and keyboards), Joey Frevola (guitar), Charlie Cawood (bass), and Robin Johnson (drums), with special appearances by Dominique Gilbert on vocals in "Illusions Inside" and Canyo Hearmichael on saxophone in "Esoterica", The album is packed with complex ideas, especially in the progressive sections, which share space with elements of synth-pop, art rock, and alternative rock. In summary, Mannequin is an album that demands multiple listens to be fully unraveled but is also accessible to a broad audience thanks to its blend of styles.
The album opens with "Taste the Day", a gentle track that combines acoustic guitars and sensitive vocals, accompanied by keyboards that create a pastoral atmosphere. It’s the shortest track on the album. "Showtime" is an instrumental piece that bursts with energy from the first seconds, with synthesizers paving the way for the other instruments, guiding the music dynamically. Near the end, there’s a pause before a brief reprise, with the bass taking the spotlight. "Illusions Inside" follows with strong drumming and synthesizers that are present throughout the track. The vocal interaction between Shelby and Dominique Gilbert is captivating, especially in the choruses, which invite the listener to sing along. The bass lines are impressive and deserve to be heard with good headphones. "Esoterica" transports the listener to the '80s, with its synthesizers and guitars creating a fun, danceable, yet emotional atmosphere.
"The End in Mind" stands out for its heavy interlude, where the rhythm section shines with a sharp performance, while the guitars and keyboards create intense walls of sound. It’s a track full of undulations that change the listener's mood several times, and it definitely stands out as one of the album’s best moments. After the intensity of "The End in Mind", "Digital Fear" offers a moment of recovery, with an enveloping delicacy that could easily be the soundtrack to a science fiction film. The piece develops within a symphonic, atmospheric, and almost psychedelic theme, mainly thanks to the work of keyboards and synthesizers.
"Ghosts of You" returns to synth-pop but with progressive nods. The rhythm section stands out once again, joining forces with the keyboard to create a pleasant, danceable sound, almost like a heavier Jamiroquai. "Liminal Space" follows with shimmering instrumentation and electronic sounds, delivering a progressive synth-pop harmony that the band executes masterfully. "Technology Killed the Kids IV" is a track that clearly shows why progressive rock is a genre associated with Kyros. Full of changes and variations, the piece is so tempestuous and explosive that, towards the end, the headphones seem to malfunction—a brilliant trick by the band to create a well-orchestrated and impetuous cacophony.
The album closes with "Have Hope", the longest track at almost eight minutes. It’s a piece full of modulations, combining common lines with moments of "musical disorder." The guitar is more aggressive here, while the rhythm section remains consistent, and the keyboards create symphonic, psychedelic moments with nods to synth-pop. A fitting album closer.
Mannequin is the kind of album that is constantly evolving and exploring a multitude of directions. However, the band does this with a symmetry that avoids making them seem lost or indecisive musicians. On the contrary, this rollercoaster of ideas results in a solid and well-defined musical direction. With that, Mannequin offers enough material to entertain the listener from beginning to end.
NOTA: 8/10
Tracks
Listing:
1.
Taste the Day (2:26)
2. Showtime (4:10)
3. Illusions Inside (5:09)
4. Esoterica (6:55)
5. The End in Mind (7:41)
6. Digital Fear (3:35)
7. Ghosts of You (5:02)
8. Liminal Space (4:39)
9. Technology Killed the Kids IV (7:26)
10. Have Hope (7:57)
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