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Slychosis - 2012 - "Fractured Eye"

(43:44; Slychosis)


1. The Sphinxter 7:22
2. Elements 5:45
3. The Mariner 4:43
4. Elegy for Christy 4:27
5. The Memory 6:21
6. Dreamscapes (2012) 4:26
7. Samuel (2012) 6:34
8. Glass 1/2 Full (2012) 4:06


Gregg Johns - guitars, keyboards, bass, vocals
Tony White - vocals, guitars
Shannon Goree - drums, percussion, vocals
Bones Joshua Theriot - guitars

Prolusion. US band Slychosis first appeared back in 2006 with their debut album "Slychosis", and for the next decade this band released new material at a steady pace, with a productive ten year long concluding with the band's fifth album "V" in 2016. The band is still active, with a few singles released in the last few years, but with progress on new full length productions having been slowed down for a number of different reasons. The album "Fractured Eye" dates back to 2012, and was self released by the band.

Analysis. The music explored on this production will easily be categorized inside of an atmospheric laden context, and the compositions revolve around establishing compelling and easy to like moods and atmospheres all day long. In terms of progressive rock traditions, this is a creation with a very distinct neo-progressive rock orientation, and one that follows the cues of the earlier incarnations of that style. Momentum is usually provided by a wandering bass guitar that occasionally gets a more driving motion, with the guitars having an occasional role as a supporting feature adding a lighter or tighter undercurrent depending, and in some cases also provides additional depth. Otherwise the electric guitar will deliver a liberal amount of floating and flowing guitar solo motifs that alternate or combine with the floating and flowing keyboard textures that is a mainstay element. The keyboards here do come in a few different guises too, with the organ and the piano complementing the regular floating keyboards and with Mellotron style sounds making some appearances too and with a charming accordion-like sound used in the opening parts of a song. That the band touch base with some Genesis sounding moods and atmospheres along the way here is probably as expected, and otherwise this is a competent take on a more atmospheric laden variety of neo-progressive rock. The mix and production isn't the best in quality however, and the lead vocals aren't of the caliber needed to elevate the proceedings either. Occasional use of more exotic keyboard sounds does add a little bit extra to the landscapes explored when present though.

Conclusion. This is an album that comes across as a production made with a lot of enthusiasm, created by people that treasure the style of progressive rock they are exploring. The core components of their songs are well made too, but the final result lacks the often subtle ingredients that would elevate the songs into becoming something interesting on a higher level. As such I regard this album as a bit more of a niche production, and that people with a more passionate interest for neo-progressive rock will make out the main audience for this production.

Progmessor: March 2023
The Rating Room

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