Kyros have been around for well over a dozen years. Originally a solo project formed in 2009 under the name Chromology by Shelby Logan Warne whlist undertaking an undergraduate degree at Middlesex University. In 2010 Warne began writing a debut album that would be released under the name Synthaesthesia. It was as a self titled album in 2014 and was well received. However, after releasing the album Warne began to put together a band to play the material live and for future activities.
This line up was composed of Warne on keyboards, vocal and production along with another University colleague Samuel Higgins on second guitar, guitarist Ollie Hannifan, drummer Robin Johnson and bassist Peter Episcopo. Hannifan decided he wanted a leave of absence and was temporarily replaced by American guitarist Joey Frevola who eventually joined as a full time member, replacing Hannifan. After recording ‘Mannequin’, Episcopo left to be replaced by Knifeworld member Charlie Cawood.
Anyway enough history and biography, let tell you about what this album is like…
Kyros specialise in an updated progressive rock version of classic 80’s Synthpop. Which, actually, they are really rather good at performing with this resulting album, ‘Mannequin’, being chock full of some familiar sounds and styles. Think ABC, Duran Duran, Propaganda and Japan, you wouldn’t be a mile off. The music is all performed so fabulously with style and conviction that you wouldn’t think this was recorded in 2024, it sounds so much like a lost 1980’s album and I mean that as a compliment.
I really have warmed to this album the more I hear it, the songs are strong and well delivered, the production is flawless and sonically spot on. All in all, it’s a remarkable achievement from the band and is definitely on my best albums of the year list, it is that impressive musically. This release plays like roller coaster with a series of tracks with ferocious drumbeats, a fiery guitar and thumping bass lines. I am seriously impressed with it all, especially Showtime which is full on, relentless and rather hi-energy in style, Shelby’s synths are all over this track all, it is simply glorious! Illusions Inside is another fine track with heavy elements of Propaganda’s Dr Mabuse track, this song really grabs the attention, especially the excellent bass from Charlie Cawood.
Esoterica is another stunning track with a running sequence of an ambient electro beat driving the track along. Lots of intense guitar chords add to the great rhythm of the track and, again, superb heavy synthesisers are present. A great chorus adds dynamics to this excellent track and I love how it mixes up the sound, a glorious, blistering, thunderous sonic assault. It is truly remarkable stuff, seven minutes of magnificence. The End In Mind has lots of intricate and dextrous bass lines giving another powerful groove that has strong echoes of Duran Duran, especially in that luscious bass, the spirit of John Taylor is definitely present and correct here. The guitar work of Joey Favola is superb too, driving a heavy groove offset by the Sonic the Hedgehog type keyboard sounds (the Sega Mega Drive game more than the movies though). It’s a fairly long track and that gives it time to proceed through its different sections which, taken together, form a very cohesive whole.
Digital Fear is a fairly short track with lots happening musically. It takes a while for things to really kick in on this track which is good as it’s and instrumental and a great one at that. Ghosts of You is so 1980’s that it is unbelievable! It reminds me a little of Go West or The Blow Monkeys as it has that sort of swing to it, or possibly Breakout by Swing Out Sister but it is one hell of an excellent track. Liminal Space puts us in prime a-ha territory, albeit with a very heavy bass line, or maybe it’s Roxette I’m hearing here? either way, it’s mightily impressive.
Technology Killed The Kids is the album’s penultimate track and there is a more moody delivery on offer here. Another powerfully pounding track, I’m sure it will be barnstorming live. More spidery guitar lines from Joey are propelled by Charlie’s strong bass work. I love the way the sound distorts like the tape has broken down, whether this is deliberate or not I can’t say, either way it is effective. The final song Have Hope opens with a very upbeat synthesiser sound, an all round excellent sounding track with shades of Kajagoogoo to my ears.
Whilst this album is heavily reminiscent of the New Romantics, it really is more of a celebration and homage than a carbon copy for within its grooves are some very fine tracks and exciting and committed performances that are really well delivered. ‘Mannequin’ is a wonderfully expressive and exceptionally bold release that you really need in your life. If Steven Wilson can gain kudos for his 80’s sounding albums then why shouldn’t Kyros?
Released February 2nd, 2024.
Order direct from the band here:
Merch — KYROS (kyrosmusic.com)
