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I’ve tested a few different Cyrusher electric fat tire bikes over the years, and they all have the same basic qualities: The fit and finish might not match the pros, but the bikes offer a fun helping of ridiculous excessiveness. The Cyrusher XF900 full-suspension fat tire e-bike might just be the most excessive yet, in all the best ways.

The Cyrusher XF900 launched late last year and is even larger in person than I had expected from the photos. It doesn’t just look massive – it is massive.

It’s overbuilt so that you can take it just about anywhere and throw it at just about any terrain.

Between the fat tires and full-suspension, the Cyrusher is basically begging you to finally leave the asphalt behind and do some real exploring.

While I tested it with a fair amount of commuting-style riding, a lot of my adventures didn’t just head for the trails – they left the trails behind completely.

Take a look at how the bike fared in my video review below, then keep reading for my complete review!

Cyrusher XF900 video review

Cyrusher XF900 tech specs

  • Motor: 750W nominal, 1.5 kW peak rear hub motor
  • Top speed: 45 km/h (28 mph)
  • Range: Up to 100 km (62 mi) claimed, actually less (see below)
  • Battery: 48 V 17Ah (816 Wh)
  • Charge time: 5-7 hours
  • Max load: 150 kg (330 lb)
  • Weight: 34 kg (74 lb)
  • Frame: 6061 aluminum
  • Suspension: Front dual crown air fork, rear spring shock
  • Brakes: Zoom hydraulic disc brakes with 180 mm rotors
  • Extras: 21-speed Shimano drivetrain(!), LCD display with speedometer, wattmeter, battery gauge, PAS level indicator, odometer, tripmeter, headlight and tail light, included fenders and rear rack

An extra helping of parts

The Cyrusher XF900 comes pretty much fully loaded.

The rear hub motor is nominally 750W, but they’ve overloaded it to pull 1.5 kW of peak power. On a lighter e-bike that’d be crazy high, though on the heavy XF900 it’s just quite high. It’s not going to throw you off the saddle, but you’ll want to make sure you’re holding on tight when you blip the throttle or engage the pedal assist.

A cool feature that I don’t see very often is that the throttle’s power level is actually tied to the pedal assist level selector. With five levels of pedal assist, if you start in level 1 and mash the throttle to 100%, you’ll experience a gentle takeoff. In pedal assist level 5, the throttle gives you that jolt of power that many riders are looking for. Any number in between provides an increasingly more enthusiastic throttle response.

With a powerful e-bike like this, being able to tone down the throttle is a nice feature. It’s useful when you want to do low-speed maneuvering as well as when letting a friend try the bike when you aren’t so sure how familiar they are with powerful e-bikes. I can leave it in level 1 or 2 until I see that they aren’t going to whiskey throttle their way into a brick wall.

On the battery side of things, the company doesn’t mess around with puny 48V 10Ah batteries and they don’t even waste time with a 14Ah pack. They go straight to the 48V 17Ah pack to give the best range. That’s the kind of big battery you need when you’ve got a powerful motor and controller. They still advertise the silly range of 100 km (62 miles), but that would only be possible on pedal assist level 1 and with a tailwind. Expect a throttle-only range of a third of that, and a pedal assist level 3-ish range of maybe just over half the max stated range. This is a heavy bike with lots of rolling resistance, so it’s not going to be terribly efficient.

Off-road riding ready

As I mentioned in the opening, this e-bike is really designed for exploring the unexplored.

The giant fat tires and suspension make it easy to hit obstacles you’d never consider on a hardtail e-bike with 2″ tires.

Both the front and rear suspension are middle shelf; they aren’t top notch parts like we find on e-bikes that cost nearly twice this much. But they’re good enough for recreational riding, which is exactly what I was looking for.

When the riding got seriously rutted out or technical, I definitely had to come out of the saddle. The suspension just isn’t plush enough for the really rough stuff. But by and large I could stay planted and have a great ride through dirt, gravel, high grass, and some light sand.

The powerful motor and the tires’ ability to pretty much float over anything means you aren’t limited to trails. I did plenty of riding through tall grass fields where I had no idea what I was riding over, but apparently it didn’t matter. I couldn’t see the ground but I could still roll right over everything.

The only thing getting in my way was the pair of derailleurs to snag grass and weeds. This is one of very few e-bikes to sport multiple front chainrings. The 21-speed setup is interesting, but it feels unnecessary.

The advantage of all of those gears is mostly on the low end, where you can drop into lower gears for more torque during hill climbing. But with a powerful motor like this, you don’t really need to drop so low since you’ll be climbing at faster speeds anyways.

The increased granularity also makes it easy to find the perfect cadence. But again, that just feels unnecessary on such a powerful e-bike. Maybe the purists will enjoy the increased gears, but I pretty much left the bike in a single gear the whole time: the highest one.

That’s because the Cyrusher XF900 is just so damn fast. It tops out at 28-ish mph (45 km/h), and it gets there on throttle-only riding or with pedal assist. Technically it’s not a class 3 e-bike if it can surpass 20 mph on throttle, but no one stopped me to ask and I didn’t volunteer that info to anyone.

At those speeds, the bike is an equally capable road warrior and trail tackler. I don’t often hit top speed on the trail, but the open road gives me the room I need to run fast. Back on the trails, if I hit the mid-20s of mph, I consider that pretty darn fast.

Any complaints?

Nothing is perfect, and I have a few gripes about the Cyrusher XF900.

The fenders are as cheap as they come, though I get that fat tire fenders for a full-suspension e-bike are a hard nut to crack. The good news is the rear doesn’t flop too much because the rear rack holds it in place. The front gets a bit floppy, but what can you do? That’s cheap plastic for you.

Next, the front headlight is fine but the rear tail light frustrates me. It isn’t a typical e-bike light that runs off the main battery. Instead, its a saddle light that has its own battery. That means two main downsides: the battery will need somewhat frequent replacing if you ride at night often, and it will be blocked if you put stuff on the rear rack. I also found myself sometimes clicking the button when I moved the bike by lifting under the saddle. If I didn’t notice that I accidentally clicked on the light, it could run for hours during the day and drain the battery by the time I need it at night.

A torque sensor also would have been nice. The cadence-based pedal assist sensor is fine, but when you’re playing in the big leagues you start to want to see those nicer parts that make the riding experience just a bit more comfortable and responsive. At this price, a torque sensor would have been a nice touch.

Lastly, I’d say the price is a tough sell. At $2,799, this is one expensive e-bike. You certainly get a lot: high power, larger-than-average battery, fast speeds, full-suspension, hydraulic disc brakes, included rack and fenders, etc. But it doesn’t come cheap.

It’s actually evenly priced against several other full-suspension fat tire e-bikes in its class, but you have to really want all of these features to write a check that big.

From my time on the bike though, I can definitely say that this is one hell of a ride. Being able to explore everything from the concrete jungle to an actual jungle, and doing it for more than just a few miles, is an experience that I hope everyone can have at some point.


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The Stone Roses bassist Gary ‘Mani’ Mounfield dies aged 63

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The Stone Roses bassist Gary 'Mani' Mounfield dies aged 63

The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.

Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”

“RIP RKID,” he added.

Gary "Mani" Mounfield and his wife Imelda at the world premiere of "The Stone Roses : Made Of Stone" in 2013. Pic: Reuters
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Gary “Mani” Mounfield and his wife Imelda at the world premiere of “The Stone Roses : Made Of Stone” in 2013. Pic: Reuters

Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.

Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.

Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.

Ian Brown, left, with Mani, right, performing on stage during their 2012 reunion concerts in Manchester. Pic: Reuters
Image:
Ian Brown, left, with Mani, right, performing on stage during their 2012 reunion concerts in Manchester. Pic: Reuters

The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”

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Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.

“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”

The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.

“It never failed to bring a smile to my face – and that was exactly the same for the man himself.

“One of the absolute best in every way – such a beautiful friend.”

Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.

He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.

Pic: Robert Marquardt/ZUMA Press Wire/Shutterstock
Image:
Pic: Robert Marquardt/ZUMA Press Wire/Shutterstock

The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.

The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.

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Half of novelists fear AI will replace them entirely, survey finds

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Half of novelists fear AI will replace them entirely, survey finds

The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.

Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.

More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.

Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.

“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.

“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.

“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”

Chevalier, author of the book Girl With A Pearl Earring, with the painting of the same name. Pic: AP
Image:
Chevalier, author of the book Girl With A Pearl Earring, with the painting of the same name. Pic: AP

Why authors are so worried

The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.

Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.

Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.

Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.

The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.

Read more: The author embracing AI to help write novels

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Could the AI bubble burst?

These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.

Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.

Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.

Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.

The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.

However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.

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Scientists sound alarm over ultra-processed foods
‘What is it really like being a British journalist in Moscow?’

Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.

One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.

“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.

Is there a role for government?

Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.

The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.

“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.

“It is both bad economics and a betrayal of the very cultural assets of British soft power.”

A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.

“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.

“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”

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Princess of Wales says her children were ‘very sad’ to miss Paddington at Royal Variety Performance

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Princess of Wales says her children were 'very sad' to miss Paddington at Royal Variety Performance

The Princess of Wales has admitted her children were “very sad” to miss the Royal Variety Performance in London, which she and the Prince of Wales attended.

Prince William and Kate made their first appearance at the event since her recovery from cancer.

Wednesday’s red carpet show at the Royal Albert Hall was headlined by the cast of Paddington The Musical.

After arriving and being presented with posies by nine-year-old twins Emelia and Olivia Edwards, the family of staff at a care home for entertainment industry workers, Kate asked if they were fans of Paddington Bear.

The Princess of Wales meets Emelia and Olivia Edwards. Pic: PA
Image:
The Princess of Wales meets Emelia and Olivia Edwards. Pic: PA

The princess, wearing a green velvet gown, then told the girls that her children were “very sad” not to attend the show and added she had to tell them children were not allowed to go.

“My kiddies were very sad, we’re going to have to keep it a big secret that I saw you guys,” she said.

“They were very sad not to be joining us.”

It is the sixth time William and Kate have attended the annual charity event.

When Olivia told the prince, wearing a tuxedo, her favourite singer was Billie Eilish, he replied she had good taste.

He said: “It’s very nice to see you both. You’re very smiley, you two.”

The royals were also greeted on the red carpet by ITV board members and representatives from the Royal Variety Charity, of which the King is the royal patron.

Pics: PA
Image:
Pics: PA

The Paddington cast were set to take to the stage on Wednesday evening, while pop star Jessie J and Grammy award-winning singer Laufey were also expected to perform.

Read more from Sky News:
New record for wind-powered electricity in Britain
Weather warnings for snow and ice updated

Jessie J attends the Royal Variety Performance. Pic: PA
Image:
Jessie J attends the Royal Variety Performance. Pic: PA

Laufey at the event in London. Pic: PA
Image:
Laufey at the event in London. Pic: PA

Held annually, the Royal Variety Performance was first staged in 1912 for King George V and Queen Mary in support of the charity, which helps those working in the entertainment industry.

Ahead of the show, its executive producer Giles Cooper said the charity was “thrilled” the prince and princess would “once again attend the Royal Variety Performance”.

Mr Cooper, also chairman of the charity, added: “This annual great British institution, viewed by a worldwide TV audience of over 150 million, continues to be a crucial fundraising event supporting people in all areas of performance, either on or off stage.

“In this pressurised world of working in the entertainment industry, our mental health initiative, started in 2024, has been a lifeline for many who are experiencing issues such as anxiety, depression or addiction.”

Pics: PA
Image:
Pics: PA

On Tuesday, the princess called on businesses to value “time and tenderness just as much as productivity and success” in her first speech since she was diagnosed with cancer at the start of 2024.

Speaking at the Future Workforce Summit, Kate told 80 business leaders: “Every one of you interacts with your own environment; a home, a family, a business, a workforce, a community.

“These are the ecosystems that you yourselves help to weave. Imagine a world where each of these environments were built on valuing time and tenderness just as much as productivity and success.

“As business leaders, you will face the daily challenge of finding the balance between profitability and having a positive impact. But the two are not, and should not be incompatible.”

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