Gyre – Moirai EP
Release Date: May 12, 2015
Gyre is the creation of five individuals from the New York/New Jersey area that have been slowly rising from the depths of the metal scene, bringing about eclectic ideas, concepts, and compositions to the forefront of modern prog. As their name implies, Gyre play a style of music that could be compared to that of a spiral or vortex. While most would consider this element to be destructive characteristic, I’ve found the approach to be positively energetic and steadfast. This positive energy has mostly been instilled into the lyrical side of the band as of late and is quite apparent in their newest effort, Moirai.
Moirai is the Greek name for the Fates, or the incarnations of destiny. Clotho, Lachesis, and Atropos controlled the threads of every mortal life. Clotho “spun the thread of life”, being the one responsible for the birth of every being. Lachesis “measured the thread of life”, being the Fate that judged the lifespan. Finally Atropos “cut the thread of life”, which easily deducts her as the Fate of death. In this half-hour EP, Gyre take up the concept of the Fates telling the story of Lachesis, the Fate of the present.
“Manifest” starts the EP off with Ying Chee’s devastating growls accentuated by Chirag Bhatt’s and Juan Soaz’s onslaught of heavy hitting guitar stabs and eviscerating riffs. Chee then flows into the chorus section with vocal cleans that give off an aura of mysticism, playing up the aforementioned concept. The first track is an immediately crowd pleaser, appealing to the likes of prog, groove metal, and tons more. “Manifest” introduces more clean vocals near the end, with the track deviating from the song’s formula into an epic outro.
After the fist pumping introduction, the ears soon become accustomed to the guitar work and vocals with attention shifting to the other aspects of the band, including the concussive and energetic drummings of Pablo Carpio. Carpio executes the familiar straight forward rhythm backbone and infuses this with epic drum fills and transitions that may or may not make your head spin. Fortify this with Ian McCartney’s fluid and groovy bass work and you’ve got yourself one of the more solid instrumental lineups seen in a progressive metal band. “I Release” is a great follow up that features a more infectious chorus and better representation of everyone involved.
“Quiescence” is only a minute-and-a-half in length and provides a small transition into “Behind The Eyes”, a slower-paced composition that follows along the path of technical metal. Ultimately, this could be considered the climax of Moirai, with “Dream The Obscene” beginning the descent.
“Dream The Obscene” takes on a surprising approach, with more of a rock and roll feel. This track is one of the more infectious, simply because the guitar riffs are just so damn catchy. Finally, the title track closes the album, starting off with mysterious energies at work, mostly with layers of vocals taking on a darkened aura. Guitars stab and riff the song forward, which unravels an interesting evolution as the ten minute closer passes. “Moirai” is an opus in itself, hearing the band bring about all the aforementioned elements into one place. It is definitely one of the best closing tracks I’ve heard in a long time.
Moirai doesn’t follow the normal past and present trends of the progressive metal scene. Gyre focus their efforts on keen musicianship which allows them to channel their creativity to the utmost efficiency. While this effort doesn’t exactly follow the same concept as their previous, Moirai still manages to present an interesting and amazing concept without falling short. Gyre is on the path to quick success and notoriety if it continues to follow its own path and ideas.