Talking about Cynic is talking about art, about extensive musical knowledge that not everyone is capable of interpreting. Virtually all the works in their discography are excellent, where those led by Paul Masvidal (Guitar and Vocals, former member of Death) create a series of intriguing fusions between metal and jazz, to name two predominant genres.
A band that wasn’t fully understood with their debut in 1993 with “Focus”, a sound that practically no one had, very ahead of its time, which, as a consequence, the audience didn’t grasp. Consequently, they returned in 2008 with “Traced In Air”, once again presenting a very forward-thinking sound, but this time, due to the era, it was much better received.
Cynic is responsible for introducing a new technical sound to metal, specifically to the wave of metal from 2010 onwards, in genres such as Djent, among other progressive sounds. Truly, they are musical pioneers.
What can we hear?
Undoubtedly, Cynic’s most accessible album, featuring a smooth yet technically intricate sound where each instrument shines: Paul Masvidal’s guitars with chords and arpeggios full of beauty and uncommon progressions, avoiding the excess of being overly intricate; the drums of the sadly departed Sean Reinert (also ex-Death) with an incredible tuning of his kit where the toms sound just right, along with complex jazz arrangements providing a diverse rhythmic foundation to the songs; and lastly, Sean Malone with his Fretless Bass, offering a unique and elegant presence that goes beyond the conventional.
For connoisseurs, perhaps “Kindly Bent to Free Us” is considered Cynic’s weakest album, and surprisingly, despite this, it is excellent. The level of composition is admirable, with predominant touches of progressive rock softened by Paul Masvidal’s vocals, which, over the years, have improved in vocal technique, leaning towards a very friendly sound derived from genres like alternative rock.
The album immerses you in textures full of details, such as the intro and verses of “Holly Fallout”, the perfect definition of “the calm before the storm”.
A finely crafted production
The musical production and engineering behind ‘Kindly Bent to Free Us’ is something that makes it extremely enjoyable to listen to, as each instrument is perfectly well-crafted. It was surely less challenging to work with the band, given their highly professional execution. Every cymbal, each bass arrangement, and every guitar tone proposed are highly enjoyable. Similarly, the album’s mix is engaging, keeping the listener’s brain active, processing each song differently, incorporating effects (especially in the ambient parts) to convey the complexity of the album effectively.
Darkness is a constant presence in the album, reminiscent of Tool’s style, a darkness that is not piercing but rather atmospheric. It manages to immerse the listener in a sea of emotions, conveyed mostly through the guitars with clear jazz influences in their arrangements. The album can transition to a surprisingly aggressive tone, as seen in ‘Infinite Shapes’, adding varied dynamics to the overall work.
Cynic = Future
Everything boils down to a futuristic sound, full of innovation, just as they sounded advanced in 1993, they continue to do so today. If we could define the sound of ‘Kindly Bent to Free Us’, it would be elegant and mathematical, a work that needs to be listened to with great attention, ideally in a moment of relaxation (listening before bedtime, as we do, is an excellent idea) to make the experience even more immersive.
What do you think? Leave us your comments!
