CYRAX – Novo Deus
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Some bands are discovered later in one's journey, while there are those fortunate few that have been followed since their inception. In the case of the Italian progressive metal band Cyrax, I appreciated their first two albums for injecting a refreshing breeze into a genre often deemed stale. However, their third album, marked by experimental elements, initially threw me off. Similarly, their subsequent acoustic EP failed to secure a place on my yearly best-of list. Consequently, I approached their fourth album Novo Deus with a hint of apprehension. Let me say straight away: Cyrax sound more experimental than ever, yet they managed to weave it into a cohesive whole, rendering Novo Deus perhaps not the most homogeneous but undeniably an incredibly adventurous record. To sum it up succinctly, Novo Deus feels like a progressive metal homage to Jules Verne’s novel Around the World in Eighty Days, albeit only conceptually. Cyrax traverse the globe, incorporating a myriad of guest vocalists and musicians, thereby encapsulating various genres within their music. While it occasionally stumbles, the endeavour is undoubtedly commendable. The journey commences on the African continent with Hewa Kunikosa, featuring Swahili lyrics and a blend of progressive metal with robust choral chants, serving as an ideal entry point. The subsequent track Nesnesitelná Lehkost Bytí appears to be in Czech and introduces Balkan beats and Klezmer influences, another standout piece. From here, the voyage ventures eastward into Asia, starting with Bhagavad-Gita from India. The album maintains its winning streak with the melancholic Chinese piece Yuéliáng and the livelier Japanese track Tatsuta-Gawa, echoing the bubble-gum pop metal of Babymetal. Next, we traverse the Pacific Ocean, landing in Brazil with the bossa nova title track, a departure from metal but distinguished by sultry vocal delivery. No Dormireis transports us to Argentina with its sweltering tango, embracing kitsch yet overflowing with intense emotions. Remaining in the Latin realm, Cuervos Nocturnos offers a playful fusion of prog metal and Latin pop, while Hamáhólo Ogo takes us to the Northern part of the continent and pays homage to Native American culture with its tribal sound. Twelve Valiant Saints, a cheesy country and western song, falls short due to its lack of ironic detachment. The instrumental Pictures Pt. II sounds like an orchestral soundtrack work by Danny Elfman and evokes a journey through the Rocky Mountains, leading to Sermon For The Wastelands, a curious blend of metal and hip hop reminiscent of the rap rock songs on the Judgment Night soundtrack from the early nineties. Returning to Europe, we go to France with L’Avare, an ironic nod to eighties new wave pop ŕ la Les Rita Mitsouko. The album concludes with the brief German track An die Musik, reminiscent of a recording from a 19th-century gramophone. While not every track on Novo Deus is a winner, I admire Cyrax's ambition. This is truly a global musical endeavour, reflecting the musicians' meticulous study of diverse genres worldwide, resulting in one of the most eclectic albums in recent memory. Despite its departure from traditional progressive metal, isn't the essence of progress to explore new musical territories? Novo Deus promises to broaden your musical horizons in unprecedented ways. |
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14 songs |
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54:17 minutes |
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***** *** |
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Genre: progressive metal (self-released) |
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