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LYNX
Trinity Of Suns

Dying Victims Productions (2026)
Rating: 7.5/10

For their second full-length album, German rockers Lynx have made a few changes with their line-up. In 2022 the quartet expanded into a quintet by recruiting Amy Zine (vocals and synthesizer). Meanwhile, three years later Marvin Kiefer (vocals and guitar) departed and was replaced by Janni Athanasiadis (vocals and guitar) of Eyemaster. Zine, however, provides most of the vocals on the album, a composition which suggests that the band has finally found their sound.

Very much influenced by the 70s, particularly bands such as Deep Purple and Pink Floyd, and the likes of modern throwback Tanith, Trinity Of Suns is both wistful and hard rockin’ as epic opener ‘Voyager’ showcases the stunning shifts between Zine and Athanasiadis. Musically, it’s all very vintage, coolly struttin’ with a riff that the band Heart would be proud of. Phil Helm’s bass and Franz Fesel’s drums are timely and jovial skips, creating a breezy if somewhat familiar slope.

Other guitarist Tim Künz brings extra grit and spring as the Thin Lizzy-esque ‘Oppressive Season’ kicks in with an autumnal fluidity, rustically trickling like a glistening stream. After dwelling within the hemisphere of just a few tracks you begin to understand which plateau the band operates from, a place of warmth and nostalgia which conjures images of half-hinted celestial golden fields disturbed by deft flowery gallops.

The title track is a stunning exhibition of those shuffling drums as Zine’s vocals soar above the delicate streams of musicality. It’s flighty and airy, in part taking us to the fringes of occult rock, although Zine’s vocals wouldn’t be out of place on a doom metal opus from the last 20 years. Meanwhile, ‘Seven Days Of Darkness’ could easily be a musical accompaniment to a British folk horror movie, the acoustic guitar is dreamy, wistfully swaying like the reeds alongside a sparkling stream.

Elsewhere, ‘Island Universe’ boasts the sort of riffs I’d expect from AC/DC. It’s instantly catchy and punchy as Zine croons, “My mind is wandering, flying through my memories alone” in tandem with that cool prodding rhythm. Another choice cut is ‘Stranger Sign In The Sky’ as the clan fluently mixes Genesis with Blondie and Phantom Spell with Swedish mob Heavy Load. There are subtle levels of pastoral elegance and extravagance, an apt coupling without ever pushing boundaries or heaviness upon us.

With the line-up changes, Lynx have certainly veered towards a more psychedelic and retro guise, and although far from being original or earth-shattering, there’s a real charm to its depths. I suggest you embark and revel in the gemstones and kaleidoscopic flower beds.

Neil Arnold

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