A TOWER OF SILENCE

This one takes the lessons learn from the very good, but ultimately flawed debut release, turn the dial firmly to 'classic', write some bloody brilliant songs and make an album that is near-perfect.

Everything about this record oozes quality. From the cover art which screams 'I am the bastard child of Pink Floyd' to the delicate flute solo in the title track.

To call this album a Floyd pastiche is a little unfair. It really takes in influences from all the albums I grew up with and repackaged them in a new and exciting prog for the 21st century. It sounds as English and quaint in places as early Genesis, but sometimes as modern as current Mrillion. All done to a very high standard.

The Passing Bell - the epic that kicks off the firestorm - is an 18 minute tour de force of Mellotrons, harpsichords, drums, bass and guitars. In a very strange time signature. A controlled cacophony. This hyperaggressive intro gives way to a pounding, almost tribal beat with melodious harmonies against a mellotron backdrop. The bass, like before is up in your face and thats just as well. The bass lines are fantastic. The piece ebbs and flows to massive conclusion, where it picks up with a plaintive piano into a sombre and beautiful final section, culminaing in one of the finest guitar solos I've ever heard.

The next track, Archway of Tears feels a bit like Led Zeppelin to me. With Queen style harmonies in the chorus. A curious blend of influences until the UK style guitar solo. This music is outstanding.

This final resting place feels in part like King Crimson, in part like Queen, in part like The Mars Volta. sometimes simultaneously. Can't really descibe it other than 'brilliant'. The guitars in the final section... wow!

The title track is almost perfectly like Genesis. Wind and Wuthering Genesis, but also with echoes of Pink Floyd, The Beatles even, and again Queen. The vocals are exceptional and it is an emotional highpoint. Great music.

Weeping Willow is the first valley, after the peaks before it. Here, we settle into a 'Lovers Leap' crossed with the Beatles 'Because'. It works, and is beautifully crafted.

For the most part, the melodic and accessible 'Wait for my world to end' is very reminiscent of modern Marillion, with melodic vocals and a hookline to die for (pardon pun, please). The Middle section leads from a shouty, heavier bit (Mars Volta, perhaps?) into a very Rick Wakeman 'King Arthur' type of stately theme on mellotron. A weird mix.

The next song is perhaps the clincher. The Holy Innocent is not only the best song on this disc, but also the best thing Anubis have ever done and one of the best songs I've heard in a very very long time. I could go on and on about it. So instead, just listen to it. It's really really something. The sax solo... magnificent.

The album ends with another fantastic three-parter, in 'All That Is', with again, piano and mellotron echoing the title track before moving into a more angular and aggressive 'fly on a windshield' type of mood. this has shifting arpeggios in different times underneath a fantastic vocal. It's not unlike mid-period Muse, and very obviously 21st century, without losing the feel and voice of classic prog.

This moves into the final section which again feels like a Genesis/Floyd hybrid. The vocal builds and builds before an almost orgasmic guitar solo that culminates in a gospel choir.

A musical assault on the senses. I love this record.

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