93/100 (cross-posted with Metal Archives) Cynic’s release Traced in Air has been one of the most anticipated albums in progressive metal, and it certainly does not disappoint. Comebacks from old bands are often mired by overinflated expectations and egos, and limited by aging musicians, but Cynic definitely has not lost the fire that fueled their now 15-year-old release Focus. The first thing you notice, listening to this album is the clarity and brilliance of modern production. While Focus was not out of place at the time, its production dates the record, even with music that was decades ahead of its time. This is very noticeable on the remixed versions of the Focus tracks on the re-release. Traced in Air really does do its name justice. It’s very clear, airy, and has very clear space between the instruments. This space is also very evident in the music. When Masvidal and Co aren’t metalling up the songs, the clean passages show a restraint and sense of room in music that really contrast well with the tightly-knit intertwining melodies of the metal sections. This is not saying they don’t go well together, because Paul has always been a master at intertwining the genres seamlessly, and does not fail to do so on here. Cynic makes everything they play natural to their music, and let it fit in the context of the music perfectly. The Nunc songs bookending the album and ironically, The Space for This, show this contrast extremely well, flowing in and out of different moods without effort. The vocals have definitely improved as well. Paul’s “Robot” vocals are still present, but new technology, and an apparent increased confidence in his vocal range creates lines that are more complex in their emotional content than what he was able to do before. The death metal vocals, provided by Exivious’ guitarist Tymon Kruidenier (a fellow Dutchman, I’m proud to say) are very well-done, and complement the music more like a background vocal, but add the right level of texture that Portal seemed to be missing. Amusingly, he doesn’t sound too far off from Tony Teegarden’s vocals, but that’s probably because Exivious is pretty much a Cynic cover band. The only issue I have with the vocals are on the track The Unknown Guest, where tribal-esque shouts seem to detract from the song’s beauty. Perhaps if it was more evident why they were placed there, it would make more sense, but instinctively, they seem rather jarring and out of place. The lyrics are more directly Buddhist and meditation-focused than on the debut, but this is part of Paul’s life, and it fits with the state of awareness the music is in. Everything makes you pay attention to what’s going on in the music right at that moment, and nothing leaves you bored. The lyrics help assist in outlining the more ambient nature of the clean sections, as well. Paul and Tymon provide fantastic guitar work throughout the album, and the melody lines and harmonies are endless, and it will probably take several listens before I start to really grasp their grandeur. There are always at least two or three lines going at the same time, and though it may be dizzying at first, the complexity creates a richness native to Cynic. The solos aren’t as unique as on the debut, but not any less beautiful. Paul clearly learned his restraint in soloing over time, and as this may hold him back from experimenting more, it has provided for more clear phrasing in his solos and riffs. One big issue I have with the music, though, is the very apparent absence of Sean Malone’s unique style of bass leads. On the debut, he provided a third constant melody line, often countering the main melodies, or at least working on harmonies that weren’t part of the main riff. Unfortunately, his role seems to have been diminished on this record. He’s definitely there, but his signature moves are definitely missing. We all know through Gordian Knot that he has the ability to craft absolutely gorgeous songs and melodies, so his lack of skill is not what’s holding him back. Sean Reinert, on the other hand, is the clear star of this record. His playing has only evolved over time, and his fills and accent placement is much more focused (PUN) and controlled. His instrument is also mixed more in the front of the music than before, and I couldn’t be any more glad for this. The songs are compact and don’t wander. The record is about as short as the debut. This leaves no room for wanking or boredom. In fact, most of the parts are filled with vocals or very concise, necessary instrumental sections. The songs are very powerful, and grab you from the second they start. Cynic has never been a band to have endless jam sessions or huge post-rock buildups, and it works well for them. The only issues I have, the lack of bass, and the slightly out-of-place chanting are not serious enough to detract too much from the album’s overall impact, and I hope to see more from these classics of progressive metal.
Bit of a redundant use of the word clear, methinks. Good review, though, I'd say. Though I've admittedly only skimmed it a tad. This reminds me that I seriously need to listen to this.
Not a bad review, and I agree in general on your judgement of the record. The review definitely won't be accepted on the Archives though, as we no longer accept advance reviews.
Couldn't agree more about the production, it's crystal clear. Loving this album right now. Great review too, I agree with it for the most part.
I moderate there as OlympicSharpshooter. Ah. I knew you were well-known there, just not a mod. - Talon
Heh, only if you submit it at 12am on the date of release. No matter when reviews are approved they still appear in order of submission.
Thanks for the heads up. I've never listened to anything from Focus. I'll be sure to get that one too.
Traced in Air quickly became one of my favorite metal albums of all time. I kind of wish Nunc Fluens was longer though. Right when it picks up awesome momentum it ends.
I really like Adam's Murmur and The Space for This. Seeing them live was amazing. I'd highly recommend seeing one of their shows.
