THE UNFORGIVABLE

The first four Anubis albums are quite revered in the Prog Rogue collection, with 2018's Different Stories and and Homeless from 2020 being both very tasty but slightly underwhelming, as they were more compact, song-oriented albums. As a testament to these Ozzies who seemingly value long-time friendships, the members have not changed one iota in the past 20 years, which by any standards is quite the accomplishment in band dedication! Perhaps to celebrate their 20th anniversary and thus returning to earlier more epic pieces, the band has unleashed the 10-part master suite "The Unforgivable", with barely a nano-second pause between each track, a blistering set-list of 'unforgettable' tunes that kick serious behind, that should place the lads once again in the upper echelons of Prog, where they belong. The line-up remains lead vocalist Robert James Moulding, dual killer guitarists Douglas Skene and Dean Bennison (rekindling images of a proggier Wishbone Ash), bassist extraordinaire Anthony Stewart keyboard whiz David Eaton and percussive titan Steven Eaton.

The curtain rises ever so elegantly on "Part 1- Legion of Angels", a suave intro with reflective piano and weather alerts from somewhere in the Mid West USA, a slithering guitar that plunges straight into "The Mark of Cain", undulating bass and complex rhythmic percussive whacks raise the mood, with Moulding spinning his dramatic tale. The dramatic pace settles majestically with interweaving splashes of keyboards, twin insistent guitars swirling above and a massive chorus laden with power and bombast to apply the coup de grace. A terrific opening salvo. Immediately switching to a raging razor blade guitar barrage that seeks no audience, "Alone" is momentarily sombre and somewhat despondent until the leather-lunged Moulding takes the rage into a passionate elevation once again, haunting and mellotron-laden for maximum effect. Next floor, "The Chains" verges on hard-rock prog with the dual guitars scorching nastily, until half-way through the shackles are removed for Anthony Stewart to venture into a masterful solo on his 4-string monster. A repeat return to the initial 'sturm und drang' rattles the windows, reinitializing the arrangement into a furious synthesizer and guitar outburst that is sonic escapism at its best. The finale gently whimpers into fatigued liberation.

Time for some absorbing music on "One Last Thing", a ballad that could have been played by RPWL, Marillion or Sylvan, owner of an ear-popping vocal delivery that belongs among the top displays of heartfelt singing in recent memory. Hitting and maintaining high notes is not always easy but this veteran voice has seemingly no issues at all. Wow! Cell phones lights on, waving gently in the night! The speeding train whizzes by the tiny rural station where a solitary piano player reminisces on his life, a supremely elastic bass wiggling between the tracks, clicking drums respecting the cadence, and once again, the unchained powerhouse voice soars with emotional upheaval. Anthemic, overpowering, perhaps sonically near recent Anathema in its heartbreaking splendour, the screaming guitars unrepentant. The night train shifts into another gear on "the End of the Edge" where Moulding is joined in a duet with guest Becky Bennison (who will be featured on the next track as well), a ridiculously brilliant vocal display with counterpoint interwoven into the variable rhythmic melange. A subtle variation is immediately offered on "Back" as if there was a need to take a step backward and reflect on their plight. The steely guitars shimmer loudly as the athletic drums shove this into a vortex of utter hurricane-like ferocity. It is clear by now that the 10 pieces fit together like a recently excavated neolithic temple of times gone by, brilliantly engineered music this! As such, time has come for clearing the way for the reverential finale "Shadows Cloak the Gospel", a fine example of a well- oiled team of musicians, all on the same page, each and everyone reaching glorious heights of expression. Though I am aware of repeating myself, Moulding simply shines on this set-list, a remarkable performance that combines subtle fragility, and imposing strength. The title track puts the final, crimson-waxed seal of approval to this masterpiece album, a magnificently memorable accomplishment within a relatively simple melody, owner of a comfortable harmony vocal, the bass humming delicately in the background and the piano twinkling in rapt splendour, to better weather the imminent storm.

This will figure high up on the prog totem pole for 2024. Horus, Ptah and Osiris would be proud of their craft, as this is the best Anubis yet.

5 intolerable longings

Modern databases reveal a staggering excess of two dozen bands that have chosen ANUBIS as their moniker but perhaps the most persistent and presently well known of this long list of bands of varying genres are the Australian neo-proggers who have existed since 2004 after forming in Sydney and slowly releasing one high calibre album after another. With quality over quantity gracing the band's canon that began in 2009 with its acclaimed debut "230503," ANUBIS has continued to the modern era by consistently adding new variations to its overall neo-prog theme and four years after its last release "Homeless" finally has unleashed a new bonanza of neo-prog splendor in the form of THE UNFORGIVABLE. And yes, they can be forgiven for the long wait!

This 7th album in the band's canon delivers another narrative concept album format that tackles the subject matter of a young man who falls to the clutches of a religious cult called The Legion Of Angels, his dismay as he realizes its toxic psychological effects and his ultimate escape which allows him to take control of his life again. Taking on the 21st century style of neo-prog that carries on the traditional attributes of heavy atmospheres and instantly addictive hooks, THE UNFORGIVABLE also embraces the world of heavy guitar riffs bordering on progressive metal but only used in small doses for contrast and benefiting from a stable lineup since 2017's "The Second Hand" has become a well-oiled machine with all the musicians in top form as well as lead vocalist Robert James Moulding delivering some of his most passionate and confident performances since the band's earliest years.

While engaging in the basic formula that has served the band well over its six album run, THE UNFORGIVEABLE doesn't deviate significantly from the stylistic approach that ANUBIS has carved out for itself in the world of neo-prog so don't expect any sudden forays into polka, Tuvan throat singing or Bavarian yodeling sessions. This is a traditional sounding neo-prog affair through and through and taken in that context ANUBIS successfully delivers another roster of 10 well-polished tracks that coalesce into the overarching theme. The tracks are all designated a primary title of "Part I," "Part II" etc with secondary titles that insinuate a multi-suite album that really features a single track broken up into individual tracks. The theme is one many can relate to as religion and spiritual mind control tactics have proven to be highly effective in hijacking another's will power over the history of humanity therefore i'm sure everyone can relate to this storyline whether on a personal level or by knowing someone who has fallen victim to such predators.

While thematically sound, the musical procession is also exquisitely performed and although descriptively identical to previous releases actually comes off as more passionate, more soulful and more addictively melodic than the band's recent output at least to my ears. The production is also notable with a rich wealth of synthesized atmospheric layering effects that pacify the usual Floydian space rock gentleness and Genesis pastoral motifs that have kept neo-prog in the prog limelight since the Fish-era Marillion years. One of the traits that has increasingly tested the patience of the casual prog lover bombarded with more shopping opportunities than in any other period in history has been the propensity of neo-prog to create over bloated albums that run an hour's playing time or even more. THE UNFORGIVABLE takes the sensible approach of keeping the playing time to a traditional vinyl LPs running time, in this case about 46 1/2 minutes which serves the old adage of keeping them hungry so they don't burn out very relevant.

To those unaccustomed to the subtleties of the neo-prog universe THE UNFORGIVABLE may sound like any old neo-prog affair and actually they wouldn't be wrong as there's nothing revolutionary here or even remotely experimental even by ANUBIS' own standards however what is apparent is that the level of quality has been tended to on multiple fronts making this sixth installment of the band's canon quite an enjoyable romp through the world of melodic prog. While i don't think the band will ever top its first two releases i do have to declare that i am always pleasantly surprised how easy it is to sit through an ANUBIS album as each release tallies up all the essential ingredients of a great melodic prog album and then delivers the goods and this one is no exception. ANUBIS has delivered another winner with no signs of losing steam.

Anubis single title in 10 parts.

'Part I - A Legion of Angels' intro space in the style of new prog; latent piano, a lit cigarette, a biplane, a racing car, the aerial cinematic interlude. 'Part II - The Mark of Cain' arrives, neo on IQ, It Bites and the like; catchy piece, Steven with jerky drums like a horse gallop; light break with the jazzy piano and the enchanting voice of Robert, guitar solo by Douglas, neo spleen typical of the Arena period, it starts well. 'Part III - Alone' continues by breaking the rhythm, going on doom yes you read correctly; Well just the intro since the tune refers to energetic prog; heavy break again on Porcupine Tree with Mellotron which is worth the metal incursion; melodic, consensual finale, nasal voice of Corgan from the Smashing. 'Part IV - The Chains' follows, the tune on Arena, the voice on IQ, high, raw, the Anglican beat, the fat keyboard and the Crichton-style riff from Saga. Jazzy- atmospheric break with the energetic drums; end with the traditional guitar solo, Douglas there. It swirls intensely before the latent spoken finale, bringing 'Part V - One Last Thing' to the captivating piano intro on a Floydian background through the guitar. The tempo is slowed down, dramatic putting the vocal forward, smelling good of Sylvan; solemn tone with the spleen organ of time for the characteristic coda.

'Part VI - All Because of You' follows, railway cinematic dusting off the air; piano and muted bass, a tad electro denoting from the intro. Cyclic piece that begins to lack rhythm; good guitar finale to keep you in suspense, launching 'Part VII - The End of the Age' with an electronic beat in 11/8; the vocal with Becky favorably changes the musical framework and the crescendo evolving in 7/8 and 9/8, yes I inquired. The rhythm gains in intensity, becoming hypnotic with this heady synth and Dean's marshmallow guitar solo; but 'Part VIII - Back' cuts off abruptly when listening by offering the typical consensual title, read passe partout. A good chorus in the style of Sylvan I insist with Douglas' best marillionesque guitar solo so far; 15 seconds of cinematic for 'Part IX - Shadows Cloak the Gospel' and the concept suite, redundant title, already heard, air on the edge of the romantic ballad dusted off by the best guitar solo accredited to Dean, as if proposing a common title with a divine solo was the right solution to melt the prog. 'Part X - The Unforgivable' as a finale, a plus, the high-pitched, melodic, catchy voice; a plus the keyboard, here's another superb guitar solo, the 3rd. The pads clean the ears of the aging prog, it takes me back to the best Sylvan that I love; the cinematic finale with radio-TV sound effects, concerning the devastating tornadoes closing the progressive loop.

Anubis releases this album filled with short tracks linked together, merging haunting atmospheres with energetic tracks so as not to get swallowed up in the prog world of yesteryear. A cinematic, progressive world full of aesthetics, cohesion and embellished harmonies, reconnecting with the epic of the dreamlike musical concept. Originally on Progcensor.