- Oct 31, 2005
- 63
- 7
- 8
Cynthesis - ReEvolution Review
by Matt Hensch
"ReEvolution" is pretty much identical to Cynthesis' first album, "DeEvolution," in nearly every regardthe similar titles should give that away. The group's first opus, which reunited three-fourths of the classic Zero Hour lineup, was an amazing piece of cinematic, otherworldly progressive rock/metal that frequently dipped into soft interludes and ambient landscapes while basing itself lyrically on a society's plummet into totalitarianism. It would've made George Orwell cream his jeans, just a trifle. Throughout "ReEvolution," released two years after its predecessor, Cynthesis continues to tell its conceptual story of big governments and all that fun stuff while boasting driving riffs, powerful vocals, consistent percussion, eccentric bass work, dazzling guitar leads, and lush ambient scenery. Unfortunately not as compelling as "DeEvolution" despite it sticking to the if-it-ain't-broke-don't-fix-it mentality, but that really doesn't hinder the album's enjoyable quality.
Then again, Erik Rosvold, Sean Flanegan, and the Tipton twins had made such an engrossing effort throughout "DeEvolution" that topping it would've proved very difficult, and calling this a lesser work isn't met with hostility. In fact, Jasun and Troy Tipton still ravage through the gripping patterns with their trademark idiosyncrasies at handthose being the electric solos of Jasun and Troy's spastic, algorithmic bass lines often doing whatever the hell they want. Flanegan's role is consistently less integral to the whole picture due to the band's tendency to include incredibly simple patterns and musical sequences which lack drums altogether, but his presence is satisfactory nevertheless. Rosvold delivers yet another magical performance, showing once more that his vocals are in prime form when rising against musical platforms both heavy and atmospheric. Overall, very close to "DeEvolution" in shape, size, and scope.
It's sort of an odd album compared to "DeEvolution," however, because the song lengths are grossly unlike those which appeared on the original Cynthesis offering. "Divine Night" and the instrumental progressive lashing of "Convergence" fail to break the three-minute mark, and "A Most Trivial Pursuit," although not too shabby, is barely able to do so; they stick out as being underdeveloped and fundamentally useless. Consequently, the remaining four songs occupy a grand majority of the record's running time, and are, predictably, far superior to the other tracks. The longer anthems give Cynthesis the ability to fully channel their creative energies into one entity, whereas "Divine Night" and company merely show one number of a multi-sided die without expanding the total picture. That said, the fine tracks are very fine indeed: "The Grand Facade" is very nicely done, and "Persistence of Visions" explodes wonderfully when the intensity picks up.
I like how "ReEvolution" ends; transitioning from the calm, atmospheric "The Noble Lie" to the thirteen-minute crusade within "Release the Deity," which is probably the best cut here, and it's quite amazing witnessing this lineup master an epic of progressive power, just like old times. Rosvold sounds really, really fantastic as the record progresses, and his performances continue to get better and better with each and every anthem. Overall, "ReEvolution" has its head in the right place, and it's definitely something not to squander if you enjoyed "DeEvolution." Shame that it isn't as hot as the first Cynthesis record, but how many sequels are worthwhile in general? Moving from excellent territory to the lands of the admirable isn't bad in my book.
Rating:8.0
by Matt Hensch
"ReEvolution" is pretty much identical to Cynthesis' first album, "DeEvolution," in nearly every regardthe similar titles should give that away. The group's first opus, which reunited three-fourths of the classic Zero Hour lineup, was an amazing piece of cinematic, otherworldly progressive rock/metal that frequently dipped into soft interludes and ambient landscapes while basing itself lyrically on a society's plummet into totalitarianism. It would've made George Orwell cream his jeans, just a trifle. Throughout "ReEvolution," released two years after its predecessor, Cynthesis continues to tell its conceptual story of big governments and all that fun stuff while boasting driving riffs, powerful vocals, consistent percussion, eccentric bass work, dazzling guitar leads, and lush ambient scenery. Unfortunately not as compelling as "DeEvolution" despite it sticking to the if-it-ain't-broke-don't-fix-it mentality, but that really doesn't hinder the album's enjoyable quality.
Then again, Erik Rosvold, Sean Flanegan, and the Tipton twins had made such an engrossing effort throughout "DeEvolution" that topping it would've proved very difficult, and calling this a lesser work isn't met with hostility. In fact, Jasun and Troy Tipton still ravage through the gripping patterns with their trademark idiosyncrasies at handthose being the electric solos of Jasun and Troy's spastic, algorithmic bass lines often doing whatever the hell they want. Flanegan's role is consistently less integral to the whole picture due to the band's tendency to include incredibly simple patterns and musical sequences which lack drums altogether, but his presence is satisfactory nevertheless. Rosvold delivers yet another magical performance, showing once more that his vocals are in prime form when rising against musical platforms both heavy and atmospheric. Overall, very close to "DeEvolution" in shape, size, and scope.
It's sort of an odd album compared to "DeEvolution," however, because the song lengths are grossly unlike those which appeared on the original Cynthesis offering. "Divine Night" and the instrumental progressive lashing of "Convergence" fail to break the three-minute mark, and "A Most Trivial Pursuit," although not too shabby, is barely able to do so; they stick out as being underdeveloped and fundamentally useless. Consequently, the remaining four songs occupy a grand majority of the record's running time, and are, predictably, far superior to the other tracks. The longer anthems give Cynthesis the ability to fully channel their creative energies into one entity, whereas "Divine Night" and company merely show one number of a multi-sided die without expanding the total picture. That said, the fine tracks are very fine indeed: "The Grand Facade" is very nicely done, and "Persistence of Visions" explodes wonderfully when the intensity picks up.
I like how "ReEvolution" ends; transitioning from the calm, atmospheric "The Noble Lie" to the thirteen-minute crusade within "Release the Deity," which is probably the best cut here, and it's quite amazing witnessing this lineup master an epic of progressive power, just like old times. Rosvold sounds really, really fantastic as the record progresses, and his performances continue to get better and better with each and every anthem. Overall, "ReEvolution" has its head in the right place, and it's definitely something not to squander if you enjoyed "DeEvolution." Shame that it isn't as hot as the first Cynthesis record, but how many sequels are worthwhile in general? Moving from excellent territory to the lands of the admirable isn't bad in my book.
Rating:8.0
