A TOWER OF SILENCE

'A Tower Of Silence' - Anubis (8/10)

After a considerable wave of positive acclaim came to my attention, I decided to check out this new album by melodic proggers Anubis. This is a band that seems to have taken the prog scene by storm. Their debut record '230503' also met some positive attention, and while I am never one to take hype like this as fact, I am usually interested enough to check out what the big idea is. 'A Tower Of Silence' is the band's second album, and despite the relative youth of this band, there is certainly no lack of ambition to their music and the risks they are willing to take.

Commonly labelled as neo-prog, Anubis does tend to lean towards the more melodic side of the prog rock spectrum, which is why some of the more proggy moments here really surprised me. 'The Passing Bell' is the opening track, a seventeen minute epic that opens with a riff in such a strange time signature, it felt uncomfortable to listen to at first, as if the music was malfunctioning and skipping over a measure or two. By the time the vocals come in though, there is a nice resolution to the odd time, and things start to make more sense for the listener. 'A Tower Of Silence' opens with its most ambitious track, and as epics go, 'The Passing Bell' really works, balancing off the recurring themes with new ideas quite nicely. The epic also transitions seamlessly into the second track, the 'single' 'Archway Of Tears'. The strong musicianship carries on here, although as far as the melodies of Anubis go, there is not anything here that becomes instantly memorable or catchy. All the same, Anubis have some very melodic vocalists- yes, they all sing! While these melodies only sunk in for me on the second listen, I was instantly impressed by the vocal harmonies, which layer the choruses with warm beauty.

'A Tower Of Silence' is bookended by its two highlights, the latter of the two being 'All That Is', which cycles through a number of different moods and ends with a cinematic choral passage that reminds me of Pink Floyd's 'The Wall' and its gospel choirs. One more thing I would state about this album is the very interesting sense of production that 'A Tower Of Silence' has. It is not necessarily chaotic, but there are times here where the arrangement verges on being a wall of sound. Naturally, this is an album to listen to on the best set of speakers at your disposal. Anubis have made an excellent record here, although the album's length is overdrawn by an inch or two. Anubis are definitely on my radar now, and while only time will tell whether or not they take this mature style of theirs and do even better things, time will tell. Until then, 'A Tower Of Silence' is a very strong melodic album, with depth worth many listens.

I'm sorry, folks, but, IMHO this album in no way matches up to this band's previous effort, 230503. The music has much more of a straight-forward rock'n'roll sound and feel to it--like post-Secret Treaties Blue Öyster Cult or something. The lyrics and singing are flat and unemotional. The sound mix is horrible: the bass is too far back and muted/dull (despite having some very interesting lines)--it's very hard to hear them beneath the drums). Even the album's best song, the title track, "A Tower of Silence" (9/10) starts like some standard bluesy-rock Journey ballad. The 17-minute epic opener, "The Passing Bell" (6/10), starts with some interesting fire but turns out to not have much else to offer--has almost an A-B-A-C-A-B song structure, just spread out over 17:08! "Archway of Tears" (7/10) begins with an interesting Strawbs/GG/JTull feel (harpsichord) but then falls into a straight rocker à la Uriah Heep. "This Final Resting Place" (7/10) again starts with promise but really never delivers: weak chorus (musically) very strange mix (voices way back, keys and bass way forward). It just doesn't ever develop, and, up until the last minute-and-a-half, behaves like another straightforward ABACAB rock song. "Weeping Willow" (6/10) seems a poor imitation of that which Moon Safari is working on mastering. "And I Wait for My World to End" (8/10) has a very similar to "Leaving Here Tonight" feel to it (it's the singing)--and has a very pretty and powerful chorus, but fails to 'state something new' when compared to their previous album (one of my 10 favorite albums from 2009). Is it my imagination or is Roger James Moulding trying awfully hard to be Roger Waters with a Freddy Mercury approach? "The Holy Innocent" (8/10) brings the album back to long-length (and, therefore, prog??) songwriting. A nice song, overall, with some emotional performances and lots of familiar sounds (from the 70s--mostly Floydian--like the Gilmour guitar solo in the fifth minute, the Dick Parry sax solo and ticking clock at the fadeout. I forgot: This is Neo-Prog!) Banksian keyboard chord progressions--the most 'out of character' part is in the way the drums are recorded and mixed--so loud and far to the front (especially the cymbols). The album's closer, the eleven-minute "All That Is" (7/10) feels like it came from Genesis' And Then There Were Three... A pretty song that fades from memory as soon as the next one comes on. (Nice keys and drum work.)

After reading the rave reviews for this album over the past month or so I must admit I had pretty high expectations for this one. I flat out disagree. 230503 is still Anubis' crowning achievement. Take a rest boys; next time come back fresh and really inspired. 3.5 stars rated up for the fact that this group really tries to produce good quality prog--be it neo or not.

Anubis is the last of my 6 recent arrivals to be reviewed, with Frequency Drift and Mappe Nootiche leading the raves. I gave it a cursory spin that did not bode well, so I put the gorgeous cover art package back at the end of the line, keeping my fingers crossed that a second, more attentive audition would yield a perfect score. Firstly, they have balls to kick off the proceedings with a 17 minute opus, "The Passing Bell", which incidentally has only a passing reference to the PF album of almost the same name. Anubis are quite different in that the vocals are more powerful and less dreamy, while their instrumentation requires more polyvalence, though in all fairness the massive fretboard solo is Gilmour Avenue all the way. The only problem I foresee with such an audacious beginning is that it will demand numerous replay Track 1 digitalis. Not that it's overtly complex, just different, perhaps due to a slight Queen influence mentioned by other reviewers. There is no doubt that a massive sonic harvest awaits the patient gardener.

On the stupendous "Archway of Tears" the gentle and the symphonic coalesce nicely, surprised by a series of short harpsichord grooves and then exploding into a fabulous bass led thunder streak, slicing guitar slashes and impassioned vocals coming to the fore. Rumbling organ and massed chorus add even more drama and a sense of a wow factor finally appears over the horizon. The crafty guitar solo screeches like a sharper Allen Holdsworth mixed in with some Jan Akkerman, so much for ripping the same guy off (poor Dave, he must be tired of suing them all for plagiarism) .

"This Final Resting Place" revs up the engine to a sizzling level, though the sound is very Neo at this point, one would venture Pendragon or even Credo, which is no slander whatsoever.. The colossal guitar duel finishes off the track nicely, aided by glockenspiel and smooth atmospherics along the way.

The title track"A Tower of Silence" is a melancholic recall of past prog leaders (Beatles, Genesis, Marillion, Queen, Fish etc?), the vocal sections evolve constantly, each a progression from the previous with elevated melodies and delivery. The band shows of its chops as well with some spirited team playing, where all instruments enter the fray in controlled cacophony. Since all members can sing, the choir work here is really to drool over as well, some well-placed flute adding to the charm. The string work ain't too shabby either, dual guitars wailing above the 4 string fortress. This track resembles something Quebec prog group Mystery would propose on one of its albums, complete with a wicked guitar solo that aims for the stars and succeeds effortlessly.

"Weeping Willow" is nice and brief, nothing more, nothing less. A rest before the whirlwind dervish "And I Wait for my World to End" , a similar rough jewel to "Archway of Tears" with insistent bass and spellbinding guitar carving the sweeping symphonics into wide swaths of bliss, the sad lyrics highlighted by somber singing. The darkness turns into rage and the vocalist really nails it, like on Credo's magnificent "The Letter", another fantastically dynamic track.

Two 11 minute+ epics draw to a close a rather sweltering audition and both are fabulous, the dreamy and Arena-like "The Holy Innocent" barrels ahead, guitar-powered and explosive at the outset and then evolves into a magnificent sax-led blowout , heavy on the mellotron (those two always get along but so rarely on records, darn it !) . Wow again!

The 3 part "All That Is" sets the sun with unadorned splendor, soft and hard meshing thrillingly, burly bass smashing forward leading the rest, rash slashes of guitar, ardent H�´sanna Hammonds and defiant drumming. This is really tasty when the soothing synth solo takes the stage, courtesy of David Eaton, a masterstroke of utter genius. Vocalist Robert James Moulding does a superb performance that is worthy of applause. The guitars stoke once again the fiery bonfire, mellotrons ablaze towards a majestic chorale finale that is mesmerizing. Hello Oz!.

So I need not to appeal this review, as I am now convinced that future auditions will only INCREASE the level of pleasure derived from its grooves. As I mentioned earlier, if you enjoy Mystery's last 2 albums (Beneath the Veil of Winter's Face and One Among the Living), you will really dig this remarkable recording.

4.5 Egyptian gods simply because , it's a definite grower that stipulates repeated returns , which will end up eventually at 5 stars.

Album that I've tried to review few times, but always deleted the words, because I simply felt few more listens are needed. And just like with other albums I've been putting out too long to review, Anubis's time has come. And it's a fine piece of work, consistent in sound (subtly exploring various aspect of it), but can I rate highly album that I know should be good, but I don't enjoy it at all ? Second listen in a row is in order I believe, because the only song I liked a lot was ending piece, All That Is, but I am afraid nothing will change. A pity, because of high recommendations I got for this album, so it's one of the biggest disappointments this year. Yet I don't dare to give less than 3 stars. After all, there will be many who will enjoy such album.

A towering symphonic journey of compelling concepts.

Anubis have a commanding sound with swathes of synths and electrifying guitars. Hailing from Australia, not renowned for its prog output, the band fly the flag with admirable virtuosity proving that excellent prog does not necessarily have to come from UK, USA, Italy or other far off places. The music deviates from spell binding synth soaked ambience to heavy crunching guitars. At times there are complex time signatures and at other times the melody dominates with a simple chord progression. Anubis create soundscapes of poignant themes and glorious lengthy instrumental breaks. There is a tension with shades of light and dark using a variation of styles that range from symphonic to Neo Prog. The actual concept according to the band's website is based on the "Earthbound spirit of an 11 year old pauper's daughter, lost within the walls of the Victorian poor asylum in which she lived and died, and how she became trapped there" and is now in limbo crying out for release. Interestingly enough I never interpreted it as such but it certainly holds interest as a compelling tale of someone attempting to escape entrapment. The tale is akin to Edgar Allan Poe's 'The Cask of Amontillado' where the villain entombs his nemesis in stone walls brick by brick in a tower, thus silencing his jibes once and for all. The album cover depicts an object trapped in time, a stop watch floats in an orb discarded on a desolate landscape. The vibrant blue is a striking design evoking pure images on a crystalline palette. The gatefold has a vibrant design of sparks trailing to a darkened sky. The booklet is adorned with a closeup of the clock, and inside are the lyrics. The CD also has an enigmatic clock design tying in with the theme of time standing still.

'The Passing Bell' is such a majestic piece of music, a 17 minute epic, wiith magnificent structures, odd time sigs, and organic flowing music encompassing many emotional resonances. I particularly like the way the song shifts into several pentatonic sigs, notably the guitar riff. The searing lead break over shimmering Hammond and pounding drums of war round off the dramatic epic feel. Pink Floyd springs to mind at times in terms of style. The vocals are replete with questions to invoke consideration; "Where is he who can't be found, where is she who calls me fear, who are you to call me here." The ambience of sustained keys and spacey effects is a mesmirising soundscape that will pervade throughout the album. There is a sudden sig change and intense vocals; "I'm feeling no connection to those who cage me here, I'm feeling no protection from the words I hear." The earthbound spirit is now calling out for redemption from the corruptible but immortal state, reaching out an unlineal hand as it were to no avail. A bell tolls with sweet synth tones leading to the next section. Ambience permeates the atmosphere, as gentle piano continues to the next verse; "I wish I could stay by your side again." The concept of searching for spiritual enlightenment appears to be the main focus, but once one knows the main premise it is actually the cries of a spirit who desires the things once enjoyed; "I wish I could pray again". She may have lost faith due to the terrible things she has had to endure, but she is searching for assurance that what she once believed is the truth; the things we may take for granted are now foremost on her mind as she is helpless to sense and to touch and to feel, well at least that is my take on it. The drums and vocals at the end are portentous of impending doom, or it could be a gateway to a new enlightenment. This is perhaps the best song on the album with some of the most inspired riffing and expressive playing by all concerned and especially the expressive vocals of Robert James Moulding.

This moves seamlessly into 'Archway of Tears' with delightful acoustic twin work virtuoso musicianship of Douglas Skene and Dean Bennison. The lyrics continue the darker themes; "evil woman with dark stare, said I was the cause of this, I lay upon the covered floor, as the tears stream down my face, I shiver from the cold night's breath, whispering my name". The vocals are clear and have a passionate and vibrant tone. This song is more like the Neo Prog of Pendragon, IQ or Arena. The acoustic phrases and mellotrons work beautifully with each other. The echoes of heavy steps at the end are foreboding perhaps signifying someone leaving the archway, escaping the tragedy that has befallen them metaphorically.

The melody is strong with 'This Final Resting Place' and I am particularly taken with the everpresent sparkling organ played by David Eaton. It is a dynamic sound from Anubis that is generated using layered multi tracking and very powerful keyboards and guitar. The glockenspiel is a nice touch and this song is one of the more reflective tracks about death. 'A Tower of Silence' is a slow melancholy piece with some potent lyrics about the tragedy of death and the spirit looks out of her silent tower envying the living humans; "lives that change, feel so light, bright, white". The lead guitar builds into the instrumental over some gorgeous organ and the percussion embellishments of Moulding. The song changes with acoustic picking and synth layers. The lyrics may be interpreted as dealing with grief and how time heals the pain; "in time you'll see, no time to grieve." The lead break that follows is vibrant with high string bends and strong sustain. The musicianship enhances the mood of sadness and reflections of a spirit who is trapped in a sepulchral tomb not able to experience the human senses; "I cannot see, I cannot breathe, I cannot feel my love." A simply haunting song that grows on you with every listen.

'Weeping Willow' is a shorter song that has beautiful music and soft harmonies; "who would bring me to this place and never show their face, they beat me to believe and push me on my knees." This track has a nice melody especially when the vocals sing; "I remain alone and faithful misguided by angels." The thunder and storm effects lead to the ominous drone of 'And I Wait for my World to End'. A spacey sound is punctuated by driving lead guitar riffage and a pulsing bassline by Nick Antoinette. The time sig is odd and especially the percussion sparks with vitality. The melody is memorable and it has a fantastic bridge with heavy distortion and Moulding's vocals sound like Roger Waters at his most manic. The ascending chord changes have a dark feel as it builds to an outbreak of more grinding organ leading to the chorus.

'The Holy Innocent' is a measured metrical shift with a steady rhythm. The lyrics are the protagonist crying out, desperately pleading; "I want to hear your voice calling out my name, with your words I'm paralysed, I need to hear them all the same." The piano motif is lovely and imposing lead guitar swells create an atmosphere of melancholia. The music sounds like Porcupine Tree or the style of IQ in places. The protagonist declares; "I live inside this cage." Escape seems impossible and it appears that she is eternally entombed; "And this dream I dream it has no sound as I lay still beneath the ground." The song ends with an incredible saxophone solo, as good as Dick Parry or Jaxon. It really lifts the music to another level and, as icing on the cake, makes this one of the classic songs on the album that should be heard by anyone who enjoys virtuoso prog. The way the song fades out with scorching sax and keyboard pads is similar to Pink Floyd's 'Money'. The clock ticking further cements this impression of sounding like "Dark Side of the Moon" in places.

A tolling piano note opens 'All That Is', a three part multi movement suite. It features in the first section 'Light of Change' mellotron dominating until heavier guitar riffs come in, and sporadic drumming. The verses include chiming keys, aggressive drums and reflective vocals; "I scale these walls that I can't see, they make no sound, they whisper to me, rescue me, from within". The way the quivering Hammond organ sound grinds in always is an effective augmentation, and there is a dreamy synth passage leading to the second section, 'The Limbo of Infants'. The cadence picks up, and the vocals are more urgent; "you and I will never know we lost that chance some time ago." Another lead break resounds with spacey textures and we are into the last section with 'Endless Opportunity'. There are choral intonations and the layered music fades out as the choral section is mixed to the front. At this point we can hear the harmonies, soaring and spiritually edifying. It sounds as if the angels have arrived and finally released the entombed spirit, well I like a happy ending so I am sticking to that.

At the end of the album there is a lasting impression that we have heard some accomplished musicianship with powerful conceptual themes. There are parts of this album that feature incredibly proficient musicianship. It washes over the listener evoking reflective thoughts and spiritual guidance. The lyrics focus on finding answers and are typically obscure enough for one to make up their own minds as to what the themes are conveying. It is certainly one of the better Neo prog albums with strong symphonic nuances throughout, especially coming from Australia, and I am so glad I was priveliged to hear such a wonderful concept album from Anubis.

Anubis were a band originally formed to bring a very specific concept to life, but evidently the warm reception their debut had amongst prog fans convinced them to give a shot at making something more of the band. A Tower of Silence is the make or break point - where it will either be shown that Anubis can create compelling material independently of the original concept, or where it will turn out that when you take the original idea behind the band away the whole thing collapses.

As it stands, the band survived the move away from their original reason for existence reasonably well. A Tower of Silence is a neo-prog release broadly in the same style as its predecessor, which will be enjoyed by those who enjoyed that one. Standout track on the album is probably The Holy Innocent, which incorporates a blazing saxophone performance to back up the usual neo-prog guitar solos and keyboard flourishes. Few neo-prog bands have really used saxophone to such good effect - IQ on Capricorn from Subterranea is the only other example I can think of.

I was initially very enthusiastic about this, but on revisiting I feel it's aged poorly. There's a certain blandness to it: it's undoubtedly very nicely presented, but it just doesn't quite resonate with me, and I'm not sure it really stands out from the pack.

Sydney, Australia neo-proggers ANUBIS were formed with only the intention to fulfil the desire to construct a tribute album for the memory of a lost friend killed in an untimely accident. The result of this grief channeled into creativity yielded their debut album "230503." The album was a success in the niche world of progressive rock but after making such a beautiful album just so rich with magnificent melodies and creative constructs just dripping with originality what do you do when the music is still oozing out of every pore of your body? Well, make an another album of course! And that's exactly what ANUBIS did. A TOWER OF SILENCE is their second album released in 2011 and as it turns out a very good move for this album is every bit as engaging and brilliant as the debut proving that this band was more than a mere one shot.

Apparently obsessed with death and the afterlife the theme of this album is about literal and symbolic limbo, about being trapped between dimensions in the spirit world and in the physical realm. This is a story of a girl who died in the 19th century and is summoned by a group of teens who perform a séance in one of the rooms of an abandoned workhouse where she lived. A mega-concept that truly tackles many a social woe such as social division, alienation and most importantly the mighty unknown. As with the debut album the story is just icing on the cake since the musical compositions are outstanding enough in their own right to keep the listener engaged for the 72:16 playing time developing long drawn out meandering melodies that manage to wrest all the corresponding emotional reactions from the listener.

Although this album could be accused being more of the same started on the debut, I have to say YAY! Such a good album it was that another of the same is just what the doctor ordered :) ANUBIS managed to steer the Genesis inspired neo-prog sound into fresh and fertile pastures incorporating everything from Pink Floyd like space rock to hard metallic rockers with crazy proggy time signatures. While generically being lumped into the neo-prog world this band takes the category and really stretches to the point where it is really hard to classify it as being in any particular subgenre by including a gazillion different sounds including sax solos, flutes and clarinets resulting in an eclectic mix that has a knack for throwing in everything but the kitchen sink and succeeds to smoothly mix and mingle opposing forces without anything feeling unnatural. Although I like the debut just a smidge better because I feel the ending on this one drags just a wee bit I cannot deny the overall awesomeness of this second creation and ranks so close that i'll just call it a tie.

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.