Cycle by Michael Rider | Album Review
Rider’s 6th album mixes their electronic sound and blends it with singer/songwriter and dream-pop elements.
I discovered Michael Rider’s music by chance on Twitter (now X) a year or so ago. What drew me to their work was their love for artists like Tori Amos and Kate Bush. The non-binary artist has released several albums since their debut back in 2013. The sampled tastes I got from their prior two albums, Double Edged (2016) and Temptation (2020), had me quite interested in how they would expand upon their indie-pop/singer-songwriter sound. Cycle takes us deeper into the electronic realms of Rider’s experimentation. Many songs blend Michael’s rich piano work with a menagerie of synth work and EDM beats.
We begin the album with the bizarrely ominous-sounding “Tower.” I can’t say that I am a fan of the vocal delivery against the electronic backing. At times Michael’s voice comes off a bit too dissonant with the rest of the music around them. The sound also really swallows them making it difficult to decipher their words. I also don’t think this sound marries at all with the lyrical theme of wanting a genuine connection with your love interest. This song is clearly not for me, so with that said I would honestly skip it. (I will say Rider really transforms it into something special on the acoustic release. I would recommend that version quite highly for its drama and beauty of this version.)
“Before I Disappear” shows off Rider’s lush piano skills beautifully. Michael’s vocals here, which are much clearer and crisp, remind me quite a bit of feel singer/songwriter Gregory Douglass’s. The electronic ambiance that flows into this song reminds me a lot of Charlotte Martin’s sound on her sophomore release Stromata. I also think the mixture of languorous tone in Rider’s vocals and the drama conjured in the various synth tones bring out the longing in their lyrics, “You say your wasting all your precious time/ I seemed to idealize things caught up in my mind/ But you smiled with your eyes wide open/ And I smiled back with my eyes wide open/ So call me/ Oh find me.” This slowly shattering sense of need to be loved comes off nicely.
“Baby, I’m Scared” has a much more pop-forward sound. The electronic wash brings us to the familiar territories of mainstream indie-pop. Rider’s voice sounds lovely in the sea of blush pinks and buttercream yellows that trench the keys and synths. Continuing on the main notion of attraction and longing, Michael is now the object of affection. The song’s chorus, “Maybe he’s scared/ Baby he’s scared/ Trying to make sense of it all/ I’m trying to make sense of it all,” flips the idea of fear of their response to fear of being caught cheating. I will say some of the lyrics and ending vocal autotune do take me out of the song a bit. I think it would be much stronger without the ending verse.
Michael shines wonderfully on the piano forward “Listen.” They keep this rather atmospheric as they opt for more breathy samples and bright synth pads to keep the air of the piece light and dreamy. This plays to their central theme of introspection nicely. Rider seeks to rid themselves of their demons and thus open themselves to others needs, “It’s just the human condition/ We’re just committed to hurting ourselves/ All the hate in your heart/ Doesn’t count for anything/ It just weighs you down/ You hurt yourself I know, cause I’m feeling it too.” All of this weaves together nicely into a milky dream-pop track.
“Ecstasy” returns to some of the stark electronics that made up the opening track. It has more 80s new wave sound (think Kraftwerk) that dates the verses a bit for me. This also doesn’t blend with their vocals at all. It all feels quite disjointed, especially when the airier chorus comes in. Michael takes a sultry approach as they dive into their sensual desires. I also wish the lyrics at a bit more depth around this burning desire. While I do think the acoustic take on their 2023 release is stronger than this version, it is probably the weakest song on the album for me.
“Then You’re There” works much better along the lines of their experimentation with dance-oriented indie-pop. I do enjoy the more DIY sound Rider and their producers gave this song. Again, it reminds me quite a bit of Charlotte Martin’s electronic work throughout her career. Rider tries their hardest to weather their need for their ex, “And I gotta tell my self so/ That I gotta let myself cry/ In the middle of the night/ In the night, rest me tight/ Tell me no/ Tell me no/ Tell me that you’re there.” I hope they continue to expand upon this sound in further projects as it works really well with their voice.
“Sooner Than I Expected” is a track that almost hits the mark, but just misses it. Rider opts for a slower tempo that adds a bit of viscosity to the electronic sound of the track. I think the drama and pulled nature of Michael’s vocals work against them here. If there was a bit more dynamics to track it would really shine. I think the repeated vocal lines (i.e. “I think its best for me to go a little sooner than I expected/ I think its best for me to go a little sooner than I expected/ What does it matter throwing me away?/ What does it matter throwing me away? ”) only build a tension that never is released.
I was very surprised by the 80s rock treatment of “Libra Season Boy.” Its neon-coated saw-wave synths, overdrive guitar, and thunderous beats are a big change from the earlier half of the album. Even though this is more of a charge to it, it works really nicely with Michael’s drawn-out delivery. Rider fights their internal urge to sabotage this budding relationship in fear of being hurt, “Love in the air/ Unsure of how to handle it/ The truth is on the surface/ Waiting to bind us in the cold air/ Libra season boy/ Keep it together, please.” Zodiac-based themes may not be my cup of tea, but I do gel with the overall sentiment of this piece. I also enjoy the chaotic sound they bring to this track.
“Acceptance” reminds me a little bit of Tori Amos’s “Curtain Call” through its descending, dark piano melody. Sonically, this is probably my favorite song off this album. I love how the electronic production melts into Michael’s piano work and vocal harmonies. There is this overarching concept of facing the difficult and uncomfortable things, “Whisper softly in my ear/ Tell me things I don’t want to hear/ Give it me nicely, give it to me slow/ Tell me things I ought to know.” I really like how everything comes together hear. Both lyrically and sonically is a joy to listen to.
We end this album with the synth-pop heavy “Battle of Heart.” I wish Michael focused their sound more in this direction with the other dance/electronic heavy tracks. Vocally, their performance gels much better than on the other songs. Though it can be a bit thick with all the effects, I do enjoy the sound they went with. The duality of their struggle with their lover’s attractive pull and repelling actions works well with the chaos brought on by industrial production. I could do without the drama at the end of the song as it becomes a bit discordant in these moments.
Cycle is an album of highs and lows for me. When Michael shines, they really shine. Their focus on more piano-forward electronics really works in their favor. The lows come in on the heavier dance and synth-forward electronic tracks. They quickly become overwhelming and overtake Rider’s voice. I also think some of the production works against Michael and synth work begins to create soul notes with their vocals. I can clearly tell Rider is talented both at the piano and vocally (this is evident through the 2023 acoustic release of Cycle). I think it’s a shame the low points don’t allow their talent to break through. I do recommend you give the album a listen (especially the highlight from the album) if you are a fan of artists like Charlotte Martin. My overall breakdown of Cycle:
Loved it: “Listen”, “Then You’re There”, “Libra Season Boy” & “Acceptance”
Liked it: “Before I Disappear”, “Baby, I’m Scared” & “Battle of Heart.”
Disliked it: “Tower”, “Ecstasy” & “Sooner Than I Expected”
My overall rating: 5.5 out of 10.
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