Syrinx Call – Mirrorneuron II | Progressive Rock Central.com

Syrinx call is back with the follow up album to their original epic, “Mirrorneuron.” “Mirrorneuron II,” is that album, and it was released March 27^th of this year, on the Flat Earth Music label.

“Mirrorneuron II,” continues the story of Kai and Mara, as they get closer, and Kai experiences new things. The story’s end delivers a surprise for both of them.

The original composition was unique in that it was a concept album with recorder as the main instrument. A project around the German recorder player Volker Kuinke. After the more folk-like/symphonic debut album “Wind in the Woods,” which was released in 2015 and the follower “The Moon on a Stick,” released in 2018, the band worked on their third album in 2020, which was released on 29th of January 2021. “Mirrorneuron,” has even more progressive rock elements than the predecessors, since Syrinx Call has impressively matured into its very unique style, as well as gained in complexity.

“Mirrorneuron,” is part one of a work dominated by astonishing conciseness and virtuosity, catchy dynamics and touching melodies. Again, you have recorders merging with classical and electric guitars, keyboards, drums, but also string instruments and the engaging vocals of Isgaard and Doris Packbiers.

Multi-instrumentalist and producer Jens Lueck has created masterful arrangements and is involving himself more than before as lead vocalist, but not without keeping the focus on the recorder in all its many variations as the main instrument.

Syrinx Call is made up of Volker Kuinke, who plays Alto, Soprano, Tenor, Bass, Great bass and Sub bass recorders. Jens Lueck, sings lead vocals on tracks 1, 3, 6 and 9, Backing vocals, plays keyboards, piano, and electric guitar on track 11; also additional guitars on tracks 1, 4, 6 and 9, bass on 7, drums, percussion and programming. Isgaard, sings lead vocals on 2, 6, 8 and 12, voice on 5, and backing vocals. Doris Packbiers, sings lead vocals on 2, 7 and 9, and backing vocals. Hannes Arkona, plays electric guitar on 1, 2, 3, 4, 5, 6, 7, 9 and 12, and additional guitars on 11. Frank Bornemann, plays electric lead guitar on 11. Katja Flintsch, plays violin and viola on 5, 6 and 8. Georg Kresimon, plays bass on 4 and 9. Jürgen Osuchowski, plays classical guitar on 2 and 4, Western guitar on 4 and 10, 12-string guitar on 10. Kai Ritter, provides voice on 5 and 6. Rainer Schneider, plays bass on 1, 2, 3, 5 and 11. Annika Stolze, plays violoncello on 5, 6 and 8. Aleksanra Todorovic, provides laughing on 12.

The album was recorded at Art of Music Studio in Garlstorf, Germany. The Sound-Engineer and Producer is Jens Lueck.

The opening song on this album is “Returning.” It has a very cool keyboard and an eerie lead-electric guitar, with a far-off felling. Then the recorder, drums, bass, and orchestration fill the soundscape giving this wonderful starter a great kick. Jens Lueck vocally welcomes us back to the epic story. This is a wonderful opener for this epic continuation. The synthesizers and recorders mix so well together. Their sound is so full of mystery and whimsy. The soaring electric guitar soloing is absolutely perfect.

“Boundless Choices,” opens with acoustic guitar and soft breezes. Doris Packbiers sings, “It’s time to move. It’s to change. The world explodes a billion sparks. Different points of view.” This is a beautiful song, full of life and forward-looking lyrical thoughts. The recorder sets off in flight with drums, bass and electric guitar accompaniment. Doris Packbiers sings of no boundaries. The electric guitar, recorders and soft drums make this one of the best songs on the album.

“Organic Embodiment,” opens with narration. Then, powerful drums, bass and keyboards. Jens Lueck sings lead vocals as the band begins a marching soundscape reminding me of some well – loved Genesis’ classics. One of the longest tracks on the album, this is another of the best songs on the album. Full of a complete soundscape of guitars, drums recorder and keyboards.

“Wheel of Emotions,” opens with narration and slow electric guitar, as the story unfolds. The recorder accompanies the guitar forward, as another famous Genesis – like marching anthem from their early days, memory is heard. The electric guitar and recorder are splendid, mixed well with the keyboards, bass and drums.

“Yearning,” is the longest song on the album, at over 7 minutes. It opens with an AI like computer voice, discussing the relationship between Kai and Mara. The recorder takes over as the keyboards support. One of, if not the best song on the album. There is a wonderful interplay between Kai and Mara. The lead electric guitar machinery which starts after this interplay is absolutely innovative and mesmerizing. The recorder adds to the passion and effect of this dramatic epic. The keyboards will take you back to early Genesis, which is always a fun trip to take.

“Attachment,” opens with regal keyboards and soft acoustic guitar. Then, the soundscape expands as drums, electric guitars and bass are immersed into a keyboard melody. The recorder attempts to take center stage. Another of the longest tracks on the album, this one is brilliant as well. The keyboard playing takes you back to Wakeman and Banks.

“Emptiness,” opens beautifully, with the sounds of ocean waves and soft strings. Then, recorder is added to complete the mix. Just wonderful. A fine break in the action. Female sirens sing from the ocean, as a soft paced soundscape plays on. Then, the soundscape drifts to soft, wonderful piano sounds.

“Mind Over Matter,” opens with soft keyboards and recorder. The melody moves at a faster pace, as the recorder takes over with the drums and soft keyboards.

“Here…,” is full of sound effects, soft Genesis – like acoustic guitar and bass recorder, with strings. Wonderful, but short.

“…And Now,” is a wonderful instrumental full of recorder, drums, bass, electric guitar and emotion.

“The Difference,” brings the concept and story to a conclusion, set to laughter, slow recorders, bass, and keyboards.

Syrinx Call’s “Mirrorneuron II,” music takes me back to Justin Hayward’s famous “Forever Autumn,” sound. I know that song used flutes and not recorders, but they sounded so similar. Syrinx Call’s “Mirrorneuron II,” is a wonderful concept album to immerse your ears and mind into when you have free time to appreciate it. Every second of this album is meant to be experienced and absorbed like we used to do with album length epics of the past. You cannot go wrong here and will find several favorites, as I did throughout this wonderful composition. I reviewed the first album and loved that one, and this second work compliments and completes the epic tale. Please give Syrinx Call’s “Mirrorneuron II,” your time. You will not be disappointed.