The leaps between debut and sophomore records can often be breathtaking and inspiring. Lux Terminus first came to us in 2018 with The Courage to Be, a noodly and meaningful record that still holds up well. But here we are in 2025, and they are about to release their sophomore record Cinder to the world, and it is nothing short of enlightening.
Lux Terminus consists of Vikram Shankar (Pain of Salvation, Redemption, Silent Skies) on keys, Matthew Kerschner on drums, and Brian Craft on bass. Guest spots on this album are weighty, including Ross Jennings of Haken on vocals, Espera of Sleep Token on vocals, Jon Pyres of Threads of Fate on vocals, and Jørgen Munkeby of Shining on saxophone.
The band has changed and grown in the last seven years. Vikram has become an in-demand production wizard and live performer. All three of them recently played ProgPower for Damian Wilson. They’ve been busy, and the music really, I don’t know, oozes that. Now, the first album was basically a guitar-less jazz fusion record of sorts; it had lots of heart, emotion, and technical feats. But Cinder is different.
The music here has moved beyond the jazz fusion of their past, though that style still flirts with the compositions here and there. In fact, when I first heard the opening “Jupiter” suite, I thought the album was going to be closer to the debut, as the band settles into those stuttering, bluesy rhythms almost immediately. But no, the band basically leaves that behind after this. Instead, the band provides an eclectic, rich experience that is cinematic, colorful, soaring, and daringly immersed in utter light.
I tear up at even the thought of the emotions that swell within the tapestry of color on this record. Yes, the band lays down some incredible performances, as I have come to expect from them. But their compositional skills have risen to the level of giants, slicing through depression and melancholy with hopeful backing vocals from Espera, sweeping storytelling orchestrations, vast atmospheric production, and powerful contrasts of shadow and sunlight.
The album has ten tracks, though the first three are one song. The album opens with the “Jupiter” suite, a gorgeous, ascending piece with Espera in tow. This song is an immediate favorite for its delicate keys, amazing celestial vocals, and luxurious piano. Like much of the album, it stretches almost to the level of epic music, i.e. Thomas Bergersen, but not quite, inhabiting a space that is both grounded and magical. “Jupiter” is a phenomenal and heavenly way to start the album.
The album has three sections in my mind, “Jupiter” being the first act. The next four tracks feel like the next part of the story, one that revels in technical grooves slowly moving into more effervescent realms. “Mosaic Mind” sounds like a classic Lux Terminus track at first, but when the squirrely orchestral touches come in, and the polyrhythmic grooves take over, this song sounds more searingly progressive than jazzy. “Neon Rain” follows, being one of my favorites; this song has such a striking atmosphere, contrasting hardened rhythms with bright keyboard melodies that will stick to your brain like glue. It almost feels Far Eastern in some ways, but still maintains its own identity.
The pairing of “P.L.O.N.K.” and “Catalyst” always makes me smile. The former is a musing and somewhat bluesy piece with some serious rhythmic fire. The latter features Ross and Jon on vocals and is a spectacular and emotional journey that is more about marvelous ambience; the saxophone is absolutely brilliant, and the vocals are excellent. Honestly, Ross and Jon start at a lower key presence, but as the song progresses, they become larger than life. The final moments always send snakes of electricity coursing down my spine.
The final act includes “The Devil’s Eyes”, “Apparent Horizon”, and “Natsukashii”, all three of them being fantastic. “The Devil’s Eyes” has a slight horror slant, playing subtle John Carpenter influence right up against meaty rhythms and powerful bass. It is extremely atmospheric, but not as much as “Apparent Horizon”, an adventurous piece that explores both peaceful moments and sweeping colors. The last few minutes are truly beautiful.
The album closer “Natsukashii” might be my favorite on the album, even after all the praise I’ve leveled. It feels like experiencing life for the first time, like exploding out of your shell and meeting the world head-on. The subtle punctuating chants in the background, the reeling synth lines, the mighty melodies; all of this makes for a final piece that is incredibly memorable and powerfully moving. I don’t know why, but it leaves me in tears.
Lux Terminus has grown so much. Cinder has undeniable charm and thrilling resonance, but the feelings it bestows upon you are what make it so damn memorable. It doesn’t try to out-progressive the rest of the community; it doesn’t try to impress us with ridiculous technical feats, though this album is quite progressive and certainly technical. No, Cinder wants to wash our minds free of worry, letting us bask in towering sunlight for fifty minutes, and I love every second of it.
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The PROG Mind 