Nigh on a decade into their career, Chicago psych-rockers REZN delve deep into the dreamworld on this, their sixth album, Cycles In The Infinite Dream.
Throughout Cycles, REZN flit between yawning cavernous riffs the size of mountains and ethereal sound effects that flow like valleys and icy rivers across some far-flung planet. They paint landscapes with a refreshingly diverse palette of sounds, from a sultry saxophone solo on ‘Transient’ to the inspired use of the lap-steel on ‘Escher’. Across nine sprawling tracks they strike an intriguing contrast of textures and the end result is something that feels intimate yet grandiose in scope, heavy yet otherworldly. Layered in organic textures with a delightfully earthy feel, songs such as ‘Aerial Birth’ reach for the ephemeral and transcendent while still feeling grounded. It’s all wonderfully aided by a raw and organic production, which strikes a perfect balance between authenticity and polish.
There’s a clear through-line from the psychedelia and kraütrock of the 60s and 70s that pervades Cycles. Hypnotic grooves and soaring spaced out vocals permeate the album. Their appreciation for the roots of experimental music makes it difficult to lump them in with the standard prog rock fare, even if they do occasionally draw from the same influences as the likes of Karnivool and Psychonaut.
“The individual performances of the band are spectacular, never in danger of overplaying”
The individual performances of the band are spectacular, never in danger of overplaying or sounding too self-indulgent. Occasionally, Cycles flows beautifully and sometimes it lacks cohesion. Things could definitely be tightened up, particularly with regard to the tracklisting and arrangement. For example, the ending of ‘Aerial Birth’ feels like its building to a crescendo, only to end abruptly. The fact that it’s followed by an interlude, in the form of ‘Devotion’ is somewhat jarring. You could argue that it aids the meandering dreamlike quality on show but it disrupts the flow of an otherwise engaging work.
Where REZN really succeed with Cycles is in how they effortlessly draw from a surprising range of influences, from the radio-ready rock of ‘Cloudfall’, and ‘The Vessel’, reminiscent of Deftones, to the grungey country sounds of ‘Escher’. It’s all pockmarked with the pensive magic of classic Pink Floyd and Brian Eno but seasoned with the grit and darkness of heavier contemporary bands, like Russian Circles and Cult of Luna. Sure, there is still room for further refinement but it’s a solid offering from a band with plenty of interesting ideas.