Lux Terminus Delivers Instrumental Prog Perfection with CINDER
No Guitar Necessary
I am not usually someone who is drawn to instrumental only albums. In fact, it was only because of The Prog Report sharing a snippet of “Catalyst,” featuring guest vocals from Ross Jennings of Haken and Jørgen Munkeby, that I ended up checking out the album Cinder by Lux Terminus from Cleveland, Ohio. However, I am very glad that I got lured in by the one song with regular vocals as this album has quickly become one of my favorite prog rock/metal albums of the year so far.
There has been a lot of discussion in prog circles about how heavy the album sounds without any guitar, and it really is immediately apparent why as the album approaches prog metal sounds without any of the typical riffs you would expect while somehow not feeling like guitar is missing.
As the album opens with a three-part trilogy (“Jupiter I: Starless,” “Jupiter II: To Bend a Comet,” and “Jupiter III: Perihelion”) you immediately get a sense of how cinematic the band can be. This suite is buoyed at times by choral arrangements provided by Espera that really give the tracks a majestic flare, making them feel like they could fit perfectly in a grand-scale science fiction film.
Moving on from there, “Mosaic” feels very prog metal-inspired with driving bass guitar and a super tasty keyboard solo that sounds a lot like a guitar solo when it begins. “Plonk” feels like a heavier update to eighties-era Rush instrumental sections. The aforementioned “Catalyst,” the sole song with proper vocals is a true highlight and falls in the song order at a perfect place to offer a change of pace with its great melodies, and even some nice horn sounds to open that helps the track stand out. One of my favorite tracks is the aptly named “The Devil’s Eyes” which has a really sinister vibe to it. “Natsukashii” feels like an epic conclusion to the whole album with a repeating synth passage and something that sounds like some shouts of “hey” as it winds to its conclusion.
One problem I often have with instrumental music overall is that I miss the vocal melody that often helps differentiate the songs. In the case of Lux Terminus’s Cinder, however, each song really has a unique identity. I especially enjoy the sound choices of keyboardist Vikram Shankar, who employs an array of soundscapes that feel fresh and tailored perfectly for the changing moods of each track. I also appreciate how varied the tempos and moods are carried by the propulsive rhythm section of Brian Craft on bass and Matthew Kerschner on drums. The first time I heard the album all the way through, I immediately played it again several times after, and since I started listening to it a month or so ago, I keep returning to it as it has quickly become one of my favorite albums of the year so far.
Check out “Catalyst” below and hopefully it will draw you in as it did for me: