Lunaris
Cyclic

Technical black metal, this is the Lunaris universe summed up in two words, a Norwegian all-star band, formed in 1998 in Oslo.

Born from the ingenious mind of guitarist M., assisted on this occasion by screamer Balfori (already in action in 1349), Dr. Dream on bass, T-Roy on keyboards, and Janos on drums, Lunaris managed to release two albums in just six years, where they blend various influences into black metal, ranging from progressive to Spiral Architect-styled techno metal, all accompanied by strong electronic undertones.

Released in 2004, "Cyclic" is without a doubt the best of the two works produced by the Norwegian ensemble: in this album, the influences are balanced with meticulous precision, aiming to achieve a convincing and engaging final result. The eleven episodes that make up the album are all crafted with attention to the smallest details, leaving no note to chance, making them extremely complex and challenging like rarely heard elsewhere.
The riffs, along with the vocals, are the element that most reflects the black metal influence, being sharp, fast, and at times dissonant with each other; the rhythm, however, together with the various solo sessions it supports, is the part of the music most influenced by technical metal, constantly evolving and rich in changes, counter-tempos, and solo parts absolutely thrilling in their progressions.

Among the eleven songs, the central quartet seems to stand out the most, formed by "Lessons In Futility", where the Janos-Dream duo shines, intent on crafting ever-changing and wild rhythms; it continues with the title track, decidedly more atmospheric, with Gothic influences highlighted by the piano and keyboard work and the scream/growl and clean voice duet (reminiscent of the spoken parts heard in "Her Ghost In The Fog" by Cradle Of Filth).
The previously mentioned quartet concludes with the pair "Slaves Of Opinion", one of the few tracks most influenced by progressive metal, thanks to a composition phase aimed more at melodical/technical exploration, making the piece more ear-catching, within the genre's limits. Lastly, there's the electronic "When It Ends", a song dominated by keyboards that act as a glue between constantly evolving metal parts, always supporting Balfori's powerful and acidic voice, capable of a stunning performance, practically perfect in every aspect and able to unleash a powerful acidic scream, adaptable to every situation.

Also noteworthy is the presence of the Opeth-like "Altruismens Gravol", rich in acoustic breaks of great value, showcasing a group comfortable even in songs that diverge from their style.
Technically, the album excels, highlighting individually breathtaking performances, and composition-wise, there are no criticisms to be made of the Oslo ensemble.
The only note that can be made about the album seems to be the production: the sounds, crystal clear and bright, indeed risk making the sound a bit flat, even though this allows one to enjoy each instrument rendered as clearly as possible thanks to this production.

This album is not necessarily suitable for everyone: anyone looking for a pure, violent, and traditionally anchored black metal album will come up empty-handed; those, however, seeking something more emotional and a more particular product for more refined palates will find in this "Cyclic" a work of great depth, worthy of repeated and attentive listens.