ANUBIS

To celebrate their 20th anniversary as a band, and 15 years since they released a concept album as their debut, Sydney-based Anubis have returned to the concept theme again for their seventh. The story here is about a young man joining, and then escaping from a religious cult in the American Midwest known as The Legion of Angels. It is designed as a single piece, split into ten parts, which fits neatly over two sides of vinyl at 47 minutes running time. One of my favourite sayings is "too much music, too little time", but I must confess I am somewhat surprised to have only now come across this band as this is modern prog which is very palatable indeed.

The band comprise Robert James Moulding (vocal, guitar, percussion), David Eaton (keyboards, soundscapes, 12 string, bass pedals, vocal), Douglas Skene (electric and acoustic guitars, vocal), Dean Bennison (electric and acoustic guitars, vocal), Anthony Stewart (bass, vocal), and Steven Eaton (drums, percussion, vocal) with guest Becky Bennison providing vocals on two of the sections. My initial listening made me sit up and pay attention as the piano is so delicate and so emotional, filling the space with gentle reverb, with gently picked guitar repeating the melody. Given there are two guitarists in the band (while Robert also provides guitar), I was not surprised to find them in the Neo prog sub-genre, although the basslines were somewhat more dramatic than one might expect. But this is modern Neo, not what I was listening to in the Nineties, and the layers and passion soon made me think of modern Big Big Train, Dim Gray, Head With Wings, The Pineapple Thief and possibly Muse. There are times when the pop elements come in with crunching guitars and plenty of passion, but others when the vocals and arrangement are incredibly passionate and emotional. If "Part V ? One Last Thing" was edited back from the 5:26 it currently is and given to the radio stations, then one can imagine them raving over the new Coldplay.

What strikes the listener more than anything is the quality and power of the production, as it is spotless, allowing the band to really shine. In Moulding they have a fine melodic prog singer who is unafraid to go high and slightly crack if that is what it takes to convey the message, while the rest of the guys move and switch the music from heavy prog through to pop rock seamlessly and always in total control. This is already my favourite prog band from Australia since the mighty Aragon, and that is saying something.

3.5 stars. The half star is because it is a definite step up from their 2009 debut, but this 2011 sophomore release fails to inspire me. This band is from Australia and they have been fairly consistent with releases since that 2009 debut. They have released seven studio albums including one this year in 2024. One of the biggest differences between this one and the debut is the sheer amount of instruments that have been added. Seeing moog, harpsichord, farfisa, clarinet, sax, slide guitar, string machine, bass pedals, fake mellotron and more is impressive, but these sounds are rarely heard by my ears.

I feel the compositions are better though, they have improved. In fact I feel this improvement continued with their 2017 release "The Second Hand", the only one I have given 4 stars to. So maybe I should be checking out their later albums if this "getting better" thing has continued. This album is over 72 minutes. Ouch! Lots of atmosphere which I like, and vocals which are okay.

Two songs stand out for me in "And I Wait For The World To End" and the closer "All That Is..." at over 11 minutes and divided into three sections. Lots of fake mellotron on the former and it sounds real good, plenty of that too on the closer, but maybe the most intense section on the album is on "All That Is..." with some rare lead piano, as well and two guest female singers.

This is a vocal heavy album to a fault in my opinion. And while they may have had a slow start to their careers, they certainly have improved as the years go by, and are still relevant today.

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.

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.

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

Whenever something like this pops up in the Prog spectrum I always get excited to check it out. This more atmospheric, alternative-driven Neo-Prog is one of my favorite aspects of the genre creates. Hogarth Era Marillion, Frost*, RPWL, and post-Immortal Arena, all of which are extremely well done in their musical prowess. That drive and power they have in each of their albums always make me adore their work effort, and their compositional abilities. I have found a new love for these types of movements recently, and I think it was through the help of the Australian band, Anubis.

Formed in Sydney in 2004. The formation was done by Robert James Moulding (Bass, vocals), and David Eaton (Keyboard, guitar). The band soon later got Douglas Skene (Guitars), Dean Bennison (Guitars), Steven Eaton (Drums), and Nick Antoinette (Bass). In this lineup, they got signed to the indie record label, Bird's Robe Records, where in 2009 they would release their first album, 230503, a concept album based on the passing of a close friend of David and Robert. This first album garnered a bit of success and attracted a good amount of Prog fans who are interested in their more symphonic, darker, and ethereal sound. This success the band garnered allowed them to make another album with similar, yet very different themes from their first effort. This prompted an album that goes through themes of limbo, depression, and the concept of the afterlife centered around a bunch of teens discovering an eleven-year-old ghost girl who died in the 19th century. This album became one of their most breakthrough and critically acclaimed albums to date. Their sophomore release, A Tower of Silence, is their most popular album to date, and it is not hard to see why.

So this album is one big song with 8 movements, similar to stuff like Question Mark by Neal Morse, The Incident by Porcupine Tree, and Colors by Between The Buried and Me. Even though this album is just one big song, I will still be looking at each movement of this suite as its separate songs, with the first one being the 17-minute epic, The Passing Bell. I gotta admit, this album does start with a bang. The beginning synths of this track sets the mood, and when the guitars and drums come in is when the track soars. I think the strongest element this song has is the fact that it's very consistent in sound and quality. Each part of this piece has a very clean sound and style throughout, and one that pays attention to intricate details. I think the best part of this song is the atmosphere of it all. It has this depressing atmosphere to it but in a different sort of way that I do not think any Prog rock band has done before. I think the best way to describe the feeling it has is the feeling of being awake late at night, your sheets slightly off your chest, the air from the window slowly breezing through your curtains, your phone next to you, as you stare at the ceiling, the walls, the cracked door. This song has that exact feeling, or something similar. It is a blue song, but not a deep blue, it is a more pastel yet still darker shade of blue that I think envelopes what this song and album are going for, and it's something that I think is the album's strongest feat.

Leading off of The Passing Bell is the second movement of this work, Archway of Tears. I talked about the aesthetic this album has, so I think I should talk about the instrumentation. For one, I love those guitars. They are so airy and yet so tightly knit. They give off this Pink Floyd vibe, one I think helps this album move forward. I also have to talk about the drumming, because it is well done. They are so well-rounded, with each beat being crisp in sound and quality. The strongest element this album has is the instrumentation. I can tell they had fun composing this. It doesn't sound too flashy and big, but the level of detail and quality let it stand on its own two feet.

I can say the same for This Final Resting Place, but this time more so in the keyboards. I just love the sci-fi vibe they give off, they just feel so well made as they smoothly flow throughout the track seamlessly. This isn't even the best part of the song, it's that guitar solo passed the halfway point. I adore how it feels so energetic and lively, yet still, stays true to the more ethereal delivery this album goes for. I think Anubis excels in sticking to a style and trying new things with that style. They are eclectic in their approach and new tactics, but they keep their aesthetic alive by making these new tactics their own.

With that, I think it should be a given I would like the next track on here, the title track. Well actually, I do not like it at all, no, I love it. The tracks before this expertly laid the red carpet down, so this song could walk on it. The vibes, the amazing guitars and drums, the keyboards, and the singing. Oh yeah, I forgot to mention the singing. Honestly, it's just great. I love how the vocals just heighten everything a bit more, which I think is important for this style of Prog. As I said before, this track contains some of the best of what the band has to offer. It's airy, it's aesthetically pleasing, it's beautiful. It is the masterpiece song on this album, and I think I think that is a fair thing to call it. It's a masterpiece and one that made me fall in love with this band, so kudos to them.

Now after this point the album starts to dip a little bit. After the title track, everything doesn't take a left turn per se, but the tracks afterward do not hold the same cut as the first four did. Weeping Willow, to start, is honestly a cool- sounding track. The use of more acoustic instruments and an emphasis on vocals help this song stand out on its own. However, it is the shortest track on here, being 2 minutes long. I am not saying shorter tracks are bad, but I wanted more out of this song, so I was a little discouraged when it felt like it was going somewhere really good. It is probably the weakest track for that exact reason.

Things get better with And I Wait For My World To End. It goes back to that groove and vibes the album had with the first 4 tracks. The guitars, the vocals, the keyboards, the drums. Everything is on point, and it helps this song in the long run. It also has a little more stuff added to it. You can tell, on the production side of things, that they were experimenting in the studio to find something new to work with, which is very appreciated. A good step up from the last track.

Things get way better with The Holy Innocent. The experimentation is pretty high in this song all around. Not like experimentation where it's all crazy and intense, but you can pick up some new additions, like a saxophone. Honestly, a saxophone works for this sound oddly enough. It is like the sax in Money by Pink Floyd, except if they utilized that to something like Echoes, or Comfortably Numb instead. Horns sometimes make genres better. It carries a very similar weight that The Passing Bell did, where it is this big and grand track that explores what the band can do. It is a great track, and I think helps the second half of the album nicely.

Leading off with that is the final track, All That Is. I think the album does end with a positive note. The drive and the whole rewarding feeling this song has lets this giant epic be as strong as it is. I do not have much to say about this track sadly because I think I have said what I needed to say with tracks before this one, and so I do not want to sound like a broken record. I think this is an excellent closure to this album, and one I can appreciate.

This album is a treat. It has pure vibes through and through. Everything from the sound, to the instrumentation, to the vocals, to the concept, all are fantastic. While I do admit this album has a bit of a problem where the second half sort of dips a bit in terms of full enjoyment, I still think this album is highly worth listening to. It is a modern Neo Prog great for many reasons, and one I think any Prog fan can enjoy. Recommend checking it out.

Amazingly although the Sydney, Australia based ANUBIS has been around since 2004, the band has enjoyed an amazingly consistent lineup with Robert James Moulding (lead vocals, lyrics, percussion), David Eaton (keyboards, vocals), Doug Skene (guitar, vocals), Dean Bennison (guitar, lap steel, vocals) and Steven Eaton (drums, vocals) having appeared on every single album. Only bassist Anthony Stewart hasn't been around since the beginning and this constant unifying element in the band's history has meant that ANUBIS has long become a tight cohesive unit that isn't afraid to take its music into ever changing directions.

Yes, this band is still rooted in the world of neo-prog, the symphonic prog offshoot that began some forty years ago when prog was licking its wounds and slowly making a comeback but the resilient style has been amazingly adaptive in adopting new elements and while many progressive rock bands these days opt to dwell on retro this and retro that, others like ANUBIS aren't afraid to do a little exploration. Excluding 2018's "Different Stories" which was sort of a reprise of older material set to acoustic form, ANUBIS hadn't been heard of since 2017's "Second Hand" but returned in 2020 with its sixth overall studio album HOMELESS. As the title suggests and by the nature of neo-prog itself, the album is based on worldly perceptions set to emotive compositions and HOMELESS reflects the years 2020 and all the changes and challenges that occurred.

Like much of neo-prog HOMELESS offers vague concepts set to music in which the listener has a bit of wiggle room in how to interpret but paints a rather certain picture of some person's perspective in this case undergoing a traumatic worldly series of experiences. Being based in Australia, the album covers the horrible fires that have swept that nation in recent years with 2020 being one of the worst. The overall emotional delivery seems to stem from helplessness and the inability find sure footing in a world gone mad. The album perfectly crafts the perfect sonic palette to display these fist of insecurity upon and the band has never sounded better. Robert James Moulding has lost none of his perfect vocal style that suits this genre of prog so well and the drumming prowess of Steve Eaton continues to expand the percussive possibilities of punctuating the melodic emotive tugs of the synth-laden hooks laced with guitar and bass accompaniments.

ANUBIS has always offered more tones and timbres than the average neo-prog bands having incorporated everything from sitars and glockenspiels on previous works and on HOMELESS the band offers lots of slide guitars, melodica, a Spanish laud as well as a clarinet. While other prominent neo-prog bands nurtured their hard rock guitar heft incrementally through the 21st century before dropping it just as they were perched to cross the metal music threshold, ANUBIS has retained a bit of guitar and bass heft although have never been even close to the distortion-rich angst of the metal world. While the heavier rock guitar power chords are ritualized throughout this albums nine tracks, the chord progressions and use of clever syncopations, contrapuntal effects and just damn good songwriting techniques guarantees a diverse and energetic delivery system of the 41-minute running time.

Only the opening reflective which exceeds the 7-minute mark is really of any substantial length. Most of the tracks on HOMELESS are much shorter ranging from the three to five mark however none of the band's progressive qualities have been affected in the least. On the contrary i would say HOMELESS is probably a bit more proggy than previous efforts. Neo-prog has always existed on the pop side of the prog world and mostly considered proggy for teasing out pop hooks into sprawling compositions but HOMELESS takes a different approach by adding lots of proggy time signatures and jazz influences into shorter tracks. There are no thruways on this as each song shines like the shiny foil on the album cover. With the last album "Different Stories" i was beginning to worry that ANUBIS had run out of steam but it's clear with HOMELESS that the band is in no danger of exhaustive its ability to crank out a new take of its unique brand of neo-prog. Another winner in my book.

ANUBIS are a band out of Australia who play in that Neo-Prog style. I have their first two albums and gave both 3.5 stars. It's like they are close to being excellent in my music world but just short of it until I heard this one from 2017. A six piece band who feature plenty of atmosphere in their music and they always release concept albums. So I'm not big on concept records or that this is almost 70 minutes long but you know what? They nailed it this time. I don't have the previous album to this one. Love the samples of spoken words and sounds from the street or whatever. Mostly we hear this at the start of a song or the end or both. Excellent vocals and guitar but it's all good for the most part.

They do mention mellotron but it's samples, not the real thing but still I like the sound as they create a lot of atmosphere with it and the synths especially. This is a consistent album, in fact it's almost impossible for me to pick a top three. This is a great headphone album, especially for those who are into stories. There are 12 guests all adding vocals or spoken words. Neo-Prog fans probably already know about these Aussies but if not check out their discography please.

Aye, this album needs a very strong standing. I mean related to my overwhelming reaction concerning the predecessor 'The Second Hand', which they had released in 2017. 'Homeless' does not follow that narrative context, but sounds very ANUBIS like again, yeah, familiar anyway. First of all, important to know or not, the staff hasn't changed since then. Experiments, surprises wanted? You may say, they are playing it safe, okay. If awaiting something totally new, then one might be disappointed probably. I have to admit, in the first instance this had weakened my enthusiasm a bit. Solely a copy-cat, getting too sterile eventually?

Nah, after taking several re-runs during recent weeks, this impression has completely vanished for good. In common sense 'Homeless' is dealing with perceptions of the contemporary world. Enough food for thought, isn't it? The prospering opener Reflection will set a first exclamation mark. Well, starting innocent somehow, though soon evolving into a perfect synthesis of hauting melody and multi-variant execution. Moulding's singing voice appears in best shape ultimately, excellent guitar presence on top. Can We Find Our Way Back Home? Of course the album title track nails down another centerpiece, the drumming strikes, it sounds completely rounded.

Equipped with an unusual finale Sirens really takes off, immediately followed by the nice ballad In Shadows. ANUBIS are serving emotive catchy melodies and a lush instrumentation throughout, that's guaranteed. When it comes to me 'Homeless' can't start the same fire as it happened with the previous studio effort. Nevertheless the ANUBIS crew is convincing again with a charming and entertaining flow all the way through. No filler. Songs are even faded out here and there, which opens some perspective when it comes to the following live events. Definitely a recommended addition to your prog music collection, if you're underway on melodic rock paths.

1. The Deepest Wound cheerful pop rock with an airy solo, the sound flows by itself, the organ of the 70s, good remix to revise and find bases 2. Leaving Here Tonight continues, well that, the more neo prog voice, the plaintive atmosphere between PINK FLOYD for the acoustics and ANATHEMA for the air; an innocuous air which will leer at the PENDRAGON, the voice at IQ; it always flows by itself; Watersian bass and atmospheric, latent keyboard 3. Breaking Water with the solemn piano beginning, the sound arises, the keyboard suddenly becomes Genesisian on this latent space; the voice echoes, something changes for the better; I'm thinking of GENESIS for the 'Duke' period, the atmospheres are of course psychedelic FLOYD; magnificent orchestral interlude which definitely fits into the album 4. Waterfall offers a radio track, highlighting the vocals, a ballad like the SYLVANS did so well before them. The crescending rise that melts what 5. Anonymity on a soft electro track, marshmallow, go caramel for a change; repetitive monolithic tune to lull the ears which continues; sudden break... explosive, Kashmiri, heavy riff on the works of ARAGON and their 'Mouse'; a cinematic instrumental drift before the hour which takes the album into another dimension; stunning, interesting and oozing progressive; cars pass in the distance, 6. The Bond of Mutual Distrust follows with acoustic guitar for a while; prog metal riff and a long melodic piece with Robert's languorous voice; Steven's drums give an incisive rise with repetitive pads, we expect it to take off more but the plot will remain melodic, a slight disappointment; final aerial cinematic, dark, robotic 7. The Doctor leaves with an energetic piece, alternative rock reminiscent of MISSION for the phrasing, a title which is valid for this captivating and heady chorus, in short a fresh sound which denotes what was proposed; a hint of punk on THE CLASH, finally something dynamite and languorous 8. Flying/Falling continues and immerses us in a repetitive ambient sound à la Philip GLASS with a lot of electro dub; it evolves thanks to the guitar on a suave, soaring and melodic rhythm, a piece which emphasizes the innovative progressive side of the cinematic

9. The Collapse begins the end of the album with an air of deja vu, ANUBIS in fact, this mixture of prog pop rock, atmospheres and sounds very different from the neo prog label stamped on it; piano break and church keyboard reminiscent of YES, the majestic variation flirts with PINK FLOYD, it goes all over the place then the melodic unfolding brings us back to neo prog, I would say; the guitar on the first MARILLION, very beautiful back solo, which will amplify and end on its own during a very enjoyable interminable finale, yes for those who follow it could not be otherwise; outro on an operating room beep before the end 10. Disinfected and Abused brings the last title with Martin's sax in fury; the intro on ARENA, I think I passed almost all the basic reminiscent groups; Martin arrives by cutting the air a beat before the real soaring orchestral break, or Gilmourian you get it, with a zest of MOSTLY AUTUMN and FROST*. Already 7 minutes and the sound takes on another speed, no more nervous pep, no more honeyed heavy sound that numbs the ear; we enter the 70s on one side, we exit through the 90s and 2000s on the other, in the helicopter center and prog atmospheres; 12 minutes already the prog time has taken its toll, we are lost between velvety vocals and melodic melodic rhythms; the finale stretches out, proven sweetness, the solo fills the air, simple and effective, the sax returns, a sign that we are reaching the goal; the phone rings, pick up otherwise it's really over!