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ANUBIS

Neo-Prog • Australia


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Anubis biography
Australian band ANUBIS was formed in 2004, and the specific aim of the band was to create a concept album. While the plan initially was to honour a dear, departed friend by writing the album in his honour, they have chosen to make this person a more anonymous inspiration as the work progressed. Anubis describe the final result as pure fiction, while the protagonist became anonymous to represent the fact he wasn't actually anyone at all. The final result of this process was finalized in 2009 as the album "230503", and was made available in digital and physical formats towards the end of autumn the same year.

With this first goal achieved it will be interesting to see where this outfit will go next. They have an outspoken vision along the lines of making music that excites them, disregarding whatever trends are popular and they don't have much of an interest in the commercial aspect of their craft either: Their aim, vision and goals are of an artistic nature only.

In 2011 ANUBIS have entered into a formal contract with Birds Robe Records (http://birdsrobe.bandcamp.com/) and launched their second album "A Tower Of Silence" in September 2011.

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230503230503
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Anubis
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A Tower of SilenceA Tower of Silence
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ANUBIS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ANUBIS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.06 | 132 ratings
230503
2009
4.14 | 357 ratings
A Tower Of Silence
2011
3.90 | 98 ratings
Hitchhiking to Byzantium
2014

ANUBIS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ANUBIS Videos (DVD, Blu-ray, VHS etc)

ANUBIS Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ANUBIS Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.33 | 3 ratings
And I Wait For My World To End
2012
4.67 | 3 ratings
A King with no Crown
2014

ANUBIS Reviews


Showing last 10 reviews only
 Hitchhiking to Byzantium by ANUBIS album cover Studio Album, 2014
3.90 | 98 ratings

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Hitchhiking to Byzantium
Anubis Neo-Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars Anubis shocked the progressive community with the acclaim generated by their previous album, the colourful 'A Tower of Silence". Owner of a dazzling cover and artwork as well as a series of riveting prog classics such as "Holly Innocent", "Archway of Tears" , "Passing Bell" , "All That Is" and "As I Wait for my World", one had to be very very optimistic for a follow-up to one of 2011's best albums . Well, the Aussies have decided to keep their talented crew intact, the only change is Robert James Moulding handling the bass guitar with rather pronounced results. With a bar set so high, there would be a natural tendency to compare and then judge accordingly. I generally prefer to stay away from such simple reasoning, as each work is inherently a separate entity, like going to see paintings by your fave Breughel or Monet, and being happy to imbibe yourself with the brush strokes.

Anubis have a style that is uncontroversial, a densely symphonic melange of symphonic keyboards , dual guitars that fill out the sound, a booming bass guitar that is up-front and center and a muscular drum kit that is unafraid to bash. But it's the vocal style of lead lung Moulding that really sets the band apart from its peers, a voice that has its own uniqueness, a hint of hysteria and a slight nasal twang that I find appealing but may grate on some more sensitive nerves.

Upon first glance, it pretty much par for the course, "Fadeout" humorously fading in as an intro, giving "A King With No Crown" its perfect platform and as such, is not far removed from the style espoused on "A Tower of Silence", a hard-edged, nervous and slightly psychotic vocal delivery, with crunchy guitars rambling nastily and the sudden synths pulverizing the airwaves, an aggressive opener that gets the blood flowing right from the start. Moulding howls wide and loud, very convincing but David Eaton's Moog solo is definitely a feature.

"Dead Trees" has a forlorn melancholia that searches out contrasts from serene to passionate, Moulding doing sweet stuff with his voice before exploding the next, he does remind me of Sylvan's Marco Gluhmann (one of the finer voices in prog) , a couple of sizzling guitar solos from both Douglas Skene and Dean Bennison , with Moulding holding down the bass duties. Typical Anubis tune, lush and delightful.

The nearly 10 minute title track wastes no time in presenting the guitar-led melody , a sleepy vocal emerges from deep in the valley, luxuriant washes of ballad-like contemplation, twinkling piano and one-two drumming, nothing complex or overtly aggressive. A dreamy voyage sprinkled with searing guitar themes, perhaps the calm before the proverbial storm, this is like a soothing balm in the pharmacy cabinet. Moulding mumbles like in a soporific cocoon, very convincing indeed.

Bang! Things get almost punky on the tempestuous "Blood is thicker Than Common Sense", a rocking piece that stutters, quakes, explodes and sizzles , Moulding doing a yeoman job with dueling vocals , introducing slight tonal variations to make the illusion complete. David Eaton shuttles a neat organ along, colliding with both guitar slashes in expert unison. Drummer Steve Eaton really shines brightly on the kit.

"Tightening of the Screws" is gentler and more pastoral in essence, yet still imbibed in a great deal of inner conflict , a passionately delivered vocal exalts within the profound symphonics, seared by a fiery guitar solo from Douglas, scorching the celestial skies as Dean scours the riffs below, tossing in some mandolin to boot. This is perhaps my favorite track here, a lovely ride.

The oddly titled "Partitionists" is slightly more nervous, lots of slashing guitars and snarly tone in the vocals, somehow this one does not connect with me. Maybe a need a few more spins but it's just pleasant. On the other hand, Douglas does a wicked axe solo, full of trembling exaltation.

The hulking presence of Pink Floyd stands over the otherwise luscious "Crimson Stained Romance", a clear tribute to the masters of space and time, celestial rolling harmonium waves surmounted by slippery guitar overlays, monotone drum and a sleepy voice that is bathing in psychedelia. The church organ comes bellowing into the congregation only to add some gloom and doom to the cosmic proceedings. Both fret board solos are awe- inspiring explorations as the mood gets more excited and angry.

Multiple radio channels get the proverbial second long chance before a piano and a drugged-up voice introduce the epic 16 minute monster and album highpoint "A Room with a View" (perhaps based on a romantic 1908 novel by EM Forster and a 1985 movie adaptation). Obviously lots of shifts, mood changes and changing scenarios but major kudos to drummer Steve Eaton for some amazing rhythmic mania throughout this sizzler. Moulding's voice is modulated higher, as if a cast member of some theatrical play, lots of harmony vocal help from all the other musicians. This is some of his best singing on the record, very demanding and highly expressive in the 'sweeter' moments. Bluesy guitar rips gracefully enhance the melody, painting a clearer musical picture, adding more crystalline soloing as the song progresses forward. Piano and rolling bass take briefly over, as the rustling flute suddenly shuttles this into almost Jethro Tull environments, the Sylvan singer reminder once again quite apparent. The finale gets all frizzled up with some spiraling guitar exercises, a section that will thrill all axe fans, as both Skene and Bennison unleash some magical licks.

"Silent Wandering Ghosts" terminates this fine album, in reverential melancholia, a sad vocal that has strong Steve Wilson-like despondence, roaming bass and insistent piano to keep things simple and in perspective. A truly great vocal line that may shift one's appreciation of Anubis' ultimate prog value, though Robert has a voice that is not unanimous in acceptance. The restraint shown by the shimmering guitar is to be commended, a sizzling fire that glows deep into the night, slowly fading into the mist.

In all fairness, Hitchhiking to Byzantium is an entirely worthy follow-up to admittedly a top- notch jewel of a neo-prog classic, so we will let bygones be bygones and suggest this to all of those who really loved "A Tower of Silence" and just enjoy the ride. It will probably take many more spins to really delve deeper into it inherent pleasures. I am somewhat surprised at the paucity of revues for this much-awaited release.

4 Free rides to Istanbul

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 Hitchhiking to Byzantium by ANUBIS album cover Studio Album, 2014
3.90 | 98 ratings

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Hitchhiking to Byzantium
Anubis Neo-Prog

Review by RedKnot

5 stars Expectation was high for H2B as Tower of Silence has been on repeat a lot since I got it. I heard it was coming through an online EPK which seemed to bode well, it all sounded damn fine. However, following a classic is never easy and the pressure was alluded to by even the musicians themselves.

They needn't have worried though. H2B is a wonderful record from beginning to end.

The biggest differences here is that it IS slightly more daring, and will polarise fans a little, I dare suggest. It isn't at all Tower of Silence pt.2, which may for some be a reason alone to turn away. However, that said, the musical DNA is still liberally sprinkled throughout the CD, and some of it is more reminiscent of the raw and edgy approach to their first album, but some of it is also extremely accessible. There may well be cries of 'sell out' when people hear the choruses of say 'Dead Trees' which are very well crafted popular music, but the quirky 7/4 verses and the solo have the same effect as Archway of Tears from ATOS which juxtaposes the accessible chorus.

The intro track, 'Fadeout' is pastoral and sweet, not unlike the first part of All that Is, and A King with no Crown bursts in like an unwelcome intruder with it's sharp angular groove and 'Collapse' like chorus. The aforementioned Dead Trees passes into the title track which is signature Anubis, with all the characteristics (save a sax solo to die for) that made The Holy Innocent such a memorable cut. The girl vocals from All that is are seemingly better integrated into the band this time and the whole song exudes majesty and quality.

So far, so Anubis then. However, nothing prepared me for what happened next.

Blood is Thicker than Common Sense is, in the nicest way, a nasty piece of work. It's unexpectedly violent and twists and turns around in the same way as 'Cygnus Vismund Cygnus' by the Mars Volta or 'Sound Chaser' by Yes does. Coming in at this point, it's definitely tremendously effective, and here its the drumming of Steven Eaton and the bass playing of 'late arrival' Anthony Stewart which delight and shock in equal measure. Robert James Moulding's vocals alternate between shouting and soothing and it's schizophrenic middle section almost sounds like two different voices duetting. It's very effective. The whole thing winds down before ramping back up into a B3 solo par excellence and a massive last section that features sax man Martin Cook on all manner of wind instruments. It's worth the album for this track alone.

The next track is again, by contrast exceptionally effective, being predominantly folky and there's an almost Radiohead like quality to the vocals which is echoed in the sublime bass work. The coda of the track could have come straight from 'Clutching at Straws' or 'Seasons End' and is one of the strongest moments that Anubis have yet committed to tape (or whatever they use these days).

Partitionists is a somewhat nostalgic romp that manages to capture the best of Anubis past with some more excellent drumming and vocal harmonies. This segues by way of church bells into the sublime 'Crimson Stained Romance' which starts off sounding like IQ does Floyd and ends up with church organs and full choirs in full gothic mode, with a soaring guitar solo and a vocal denoument to match.

However, the piece that surprised like no other is the penultimate 'A Room with A View' which seems to be about suicide. The piece begins with eerie piano and keybaord textures before a climax that reminds me of the start of 'Octavarium' by Dream Theatre. This then skips off into a brisk Steve Hackett-playing-Yes sort of solo which is underpinned by an almost Tubular Bells like piano figure. Talk about blending your influences! This gives way to a sparse acoustic like sections chocked full of harmonies (almost CSN and Y at points) before going full circle back to neo-prog. Packed full of gorgeous vocals and exquisite lyrics. Lovely. The middle of the track has an unexpected dance with the ghost of Jethro Tull (did Martin Cook play this on one leg?) and a reprise of the opening gambit before a collosal climax and coda with incredible vocals. Wow. I need a cigarette.

However, no time. As the ending 'Silent Wandering Ghosts', kisses you off to sleep with some of the most tender vocals on the album and a guitar solo that David Gilmour would proudly call his own.

So, this is definitely Anubis' best yet. Where to from here? No idea, but on the strength of this, there'll only be more to come.

Is it as good as 'The Road of Bones'? Hmmm... not sure yet. Too much study of both to do, but it's damn close. Definitely a grower and definitely a record with many, many, many listens ahead of it.

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 A Tower Of Silence by ANUBIS album cover Studio Album, 2011
4.14 | 357 ratings

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A Tower Of Silence
Anubis Neo-Prog

Review by RedKnot

5 stars Anubis' 230503 was a bit of a blindside. The band came from seemingly nowhere with a curiously edgy sounding take on classic prog. It had some excellent highs - the last two tracks sounded really vital, but the album was a bit patchy and was obviously a combination of first night nerves and inexperience. ATOS takes all of the promise, mixes in a confidence missing from the first set, adds a glorious cover, and sets it all to stunning music.

Anubis won't win any awards for being the most musically original band you'll ever hear. I will say that. The keyboard sounds are tried and tested, the guitar blends Gilmouresque melody with Govanesque pyrotechnics (so far so good) and the drums have the requisite blend of solid time-keeping and classic prog quirkiness. The bass is typically busy, Squire/Lee/Rutherford fayre, but with less bite and twang tonally.

However, none of that is a slight. As the songs are so bloody good that it doesn't matter how 'tried and tested' the sonics are. This album has majesty, it has heart and it's so damn well played, all of it, that it doesn't matter one iota if it's a mellotron or not.

The Passing Bell is a brave opener. If you can get through the opening barage (which I love) then you'll find the album opens up to you more and more, and by the time it reaches the haunting title track, you find yourself slightly mesmerized.

Where Anubis are different is their vocal sound. Robert James Moulding doesn't sound like Gabriel, or Fish, or IQ or Unitopia. There's lots of melody, lots and lots of vocal harmony and different voices too. It's not as much an acquired taste as say, Gentle Giant or Van der Graaff, but it is unique. There's a soulful rawness to the voice that seems to fit the albums desperate feel.

By the time it reaches The Holy Innocent - which I first heard on a Prog mag CD, it goes to another level altogether, and the saxophone solo of Martin Cook must surely be one of the best in recent prog. The last track, the beautiful All that is has a poignancy that grabs the heart strings and tugs for all its worth.

It's an album that continues to move me and make me think. Which all good music should.

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 Hitchhiking to Byzantium by ANUBIS album cover Studio Album, 2014
3.90 | 98 ratings

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Hitchhiking to Byzantium
Anubis Neo-Prog

Review by Warthur
Prog Reviewer

3 stars I really enjoyed the previous two Anubis albums, and whilst I respect them for evolving their sound rather than treading water I found this latest effort, Hitchhiking to Byzantium, doesn't quite work for me. It naturally feels slightly less cohesive than its predecessors, because unlike them it isn't a concept album, but it goes further than that - Robert James Moulding's lead vocals bug me here in a way which somehow they didn't on the previous albums, and their musical influences have shifted from the likes of Muse and IQ to a blend which reminds me more of Keane and Pink Floyd (or rather, the castrated modern approximations of Pink Floyd lots of bands try to offer up). Decently performed and some will probably love this, but it isn't quite for me.

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 Hitchhiking to Byzantium by ANUBIS album cover Studio Album, 2014
3.90 | 98 ratings

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Hitchhiking to Byzantium
Anubis Neo-Prog

Review by praj912

5 stars This album proves that Anubis' previous masterpiece was no accident. H2B is more original, has more influences and goes above and beyond AToS in a lot of ways. It has all the grandeur of the previous release but throws in some more modern, and retro, influences to create a diverse style, there's a bit of everything.

'Fadeout' begins the album in a relaxed dreamy neo-prog way before 'A King with no Crown' arrives with its jagged groove and vocal hooks. Lyrically it deals with the 'fake' talent show phenomenon and realises the reality that it's all a short-term fame. It's a bit aggressive, and the hooks in the chorus may not grab you instantly, but they will get you in the end. It's main feature is a dreamy moog solo as an interlude and this really takes this song to another level.

'Dead Trees' skips off, sounding not too unlike something 'The National' would produce until the chorus catches you. Dealing with the end of a relationship, it's a worthy next single, there's some nice atmospherics, first with the drum loop intro and then the guitar and keyboard harmonies in the chorus. We are then treated to an expressive guitar solo with a great bass-line and drums, before the song changes completely and becomes a slow atmospheric piece with a great bass-line and concludes with a trancelike guitar to fadeout.

The title track is less bombastic than I expected, it has a laid back Sunday afternoon feel to it, but rather than sailing by, it draws you in to its lush melodies. The last 3 minutes of the song build to a crescendo of guitar and keyboard harmonies. Quite magic. Listen.

'Blood is Thicker than Common Sense' picks up the pace with a quick fire vocal trade-off in the verse and staccato riffing and drumming before the chorus comes in. The vocal trade-offs continue throughout the song while the drums keep the tempo busy. There's a great rhythmic interlude in the middle with a nice guitar solo followed by a great Hammond solo. The ending sprawls out with a nice progressive guitar riff in some time signature I can't be bothered to figure out.

The opening acoustic chords of 'Tightening of the Screws' lead into one of the strongest 'songs' on the album, The vocals are gentle and melodic with a marching bass-line before the strong chorus drags you in. There's some nice guitar tinkering, some mandolin and some creative drumming that intersperse the verses and choruses. At the end we are treated to one of the best moments on the album, with the guitar solo unisoning with the keyboards. Again, just listen. 'Partitionists' begins ominously before a funky 70s guitar riff takes us through the verses and onto the chorus. Again the theme of 'false gods' and society's love affair with the dollar and fake ideals prevail. This song is one of my favourites, it grooves along before changing tempo and allowing a chance to cut a little bit loose with a tastefully blistering guitar solo. Magic. Another tempo change before leading to a smashing Led Zeppelin Presence era-like finish. I love Zep.

'Crimson Stained Romance' is certainly drawn from the darker parts of Pink Floyd (it was inevitable at some point), but it is quite wonderful due to the female backing choir, before a beautiful solo with so much space to breathe leads us to what I love best about Anubis. A change. Then the church organ kicks in followed by a sweeping guitar solo and a real high point of emotion with the return of some sublime backing vocals.

'A Room with a View' is ~15 minutes of bliss. Anubis have tried before and succeeded with Track 1 of their last album, but this track beats that for me. It starts with a slide guitar intro and goes through many changes over its 15 minutes but never loses its flow, lots of musical interludes throughout the vocal sections. It starts ominously with a pensive piano riff and some slide guitar before picking up the pace. The initial verses feature a gentle lead vocal line before bringing in the vocal harmonies, then there's a flute driven musical interlude before the pace picks up again with some nice vocal harmonies and a stellar closing out sequence that I cannot describe.

'Silent Wandering Ghosts' brings things together with the emotive coming together of the album's theme, again you need to listen to this, it builds perfectly before finishing with an excellently restrained guitar solo.

It would be remiss of me to not mention the cover artwork, which is again excellent. Artwork is very important to the visuality of the music on a disc, it provides tonal colours to enhance the music. The overt blue of the previous album gives way to a darker but more multi-coloured scene. Quite apt.

So overall, there's more going on on this release, lots of little treasures hidden in the mix, guitar tinkerings, atmospherics, keys, lots of tempo changes. I haven't covered half of it. Anubis use all their influences to create an dynamic listening experience. A worthy follow up to AToS; it sounds more original but retains the stylistic trademarks that make Anubis a band to rival their contemporaries and their influences.

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 A Tower Of Silence by ANUBIS album cover Studio Album, 2011
4.14 | 357 ratings

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A Tower Of Silence
Anubis Neo-Prog

Review by Progrussia

3 stars Little-known Australian prog scene has been growing recently, but hasnt blown me away yet. Unitopia comes closest. Anubis sound like a cross between whiny Pink Floyd and indie rock. Some reequisite Pink Floydian guitar solos and buzzy, not too loud guitar sound, bu mostly layered synths.

This is a concept album. Most songs are quite long and take a while to make their point. Of those, Passing Bells (with its cool skipping riff) and All That Is, are most varied, with both more energetic and anthemic sections. But the rest is, maybe lush, but just too whiny and boring. There is a thin line between majestic and boring in prog, and hey, I like slow-moving bands like RPWL and such, and I like to write reviews - which by definition makes me boring - but even to me this stuff is same-y and tedious.

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 A Tower Of Silence by ANUBIS album cover Studio Album, 2011
4.14 | 357 ratings

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A Tower Of Silence
Anubis Neo-Prog

Review by sukmytoe

5 stars On first listen this album took my breath away and for the first time in a long time I found myself restarting tracks consistantly in order to keep the music flowing and in order to varify that what I was hearing was as good as I was percieving it to be. After many listens now I am still blown away each time I spool this up.

"The Passing Bell (Part I - VI)" - This is an absolute giant of a track. It takes me on a trip outside of my head meaning that I get very personally involved in the music - it demands absolute attention. To compare it to something else is not easy as it holds melody and structures that remind me of the very best of all of my very favorite prog bands within the flowing, changing music scapes that make it up. It emulates none of the of the old prog giant tracks or bands however it encompasses them all. Quite simply this is at the top of the heap of my very favorite tracks along with "Supper's Ready" and the like.

"Archway of Tears" - To begin an album with a track as strong as the first one was and to keep the momentum would be difficult but Anubis get this track right as well. The bass lines in this are especially interesting to my ears.

"This Final Resting Place" - Not as strong as what came before but that isn't a negative as this is still extremely strong musical nirvana. Again I find the bass lines very interesting indeed.

"A Tower of Silence" - A quieter more moody piece. Very emotive and powerful. If the listeners mood isn't melancholy to start with this track will take him by the hand and take him to that place where loneliness resides. Very, very emotive and emotion inducing.

"Weeping Willow" - A short piece that continues the mood - it serves as a lull in the emotional storm of the music and in that it is brilliant.

"And I Wait for My World to End" - Musically this track kind of lightens the mood. Sounds very much like Floyd in parts, in a good way.

"The Holy Innocent" - With every listen I pick up things that I haven't heard before in this and that is a sign of really good music.

"All That Is" - Ends the album on a strong note. One feels as if one has been on a long journey after this closes.

This remains one of the strongest albums that I've heard and it remains at the top of my "will listen to again and again" pile of albums. It is a stunning whirlwind of emotion and intensity. I can't really categorise the music into the Neo Prog pocket however that is probably what it is closest to. A very solid 5 star effort as far as I'm concerned and I'm very suprised that this band and album haven't found more popularity here than 292 ratings suggest that it has especially where those 292 ratings average out at a 4.11 average rating.

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 230503 by ANUBIS album cover Studio Album, 2009
4.06 | 132 ratings

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230503
Anubis Neo-Prog

Review by sukmytoe

4 stars It took a while for this album to grow on me. The only reason that this album recieved more airplay than the first initial listen from my side was really due to the next album from the band which after hearing it renewed my interest in this one.

"The Deepest Wound" - The "alternative rock" sound of this track almost put me off the album to start with but on relistens I picked up an interesting thread that underlies the top layer "Men at Work" sound of the track.

"Leaving here Tonight" - Starts off with a sound that I love being the acoustic guitar sound of America and the like (Ventura Highway kind of guitar sound) before fleshing out into a very enjoyable excursion into almost Pink Floydish territory.

"Breaking Water" - Haunting simple piano driven beginning to a musical mood excursion. Almost an interlude track.

"Waterfall" - I enjoy the bass through this slow moody piece punctuated by Gilmour sounding guitar.

"Anonymity" - Another interesting electronic mood interlude kind of track.

"The Bond of Mutual Distrust" - Starts of gently before slamming in with an almost alternative rock sound again. Halfway through it segues into psychadelic space rock turf before returning to the alternative sound. An interesting track although the "alternative rock" sound is not my cup of tea for the main part.

"The Doctor" - "Men At Work" sound again doesn't do all that much for me. Not an album highlight.

"Flying / Falling" - Interlude type track that returns my interest to the album after the previous interest breaking track.

"The Collapse" - Again that "alternative rock" sound to start however the track fleshes out into a brilliant piece of progressive majesty.

"Disinfected and Abused" - This is brilliant music and this track along with the previous one are the giants on the album.

All in all I have a love/hate relationship with this album. I don't like "alternative rock" as a rule however this is kind of a progressive adventure incorporating the alternative rock sound in what is essentially a progressive music sound journey. I can't fault the musicianship as it is excellent as is the album concept. The highs are really high and the lows (which aren't many) are really low. It isn't an album that I will bury at the bottom of my maybe listen to again pile as I will most definitely be listening to it again however I usually defer to this albums younger brother when I decide to listen to Anubis. Rating wise I have to give this album four stars - it is really a three and a half star effort but as this is a band that I am most definitely watching in anticipation in future I'll push it to four.

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 A Tower Of Silence by ANUBIS album cover Studio Album, 2011
4.14 | 357 ratings

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A Tower Of Silence
Anubis Neo-Prog

Review by bonestorm

4 stars With the majestic layering of synths In the opening seconds of "The Passing Bell", it's apparent that something epic is about to happen on Anubis' album "A Tower of Silence". And the boys from Sydney don't disappoint.

The guitars kick in with one of the catchier 7/8 riffs I've ever heard. It never seems to outstay its welcome, even though it is used extensively throughout the 17 minute opener. One of the great strengths of "The Passing Bell" is how a number of different riffs and time signatures (4/4 and 5/4 are also thrown in) are all tied together so eloquently. Not only this, but we're treated to a number of emotions as new phases come and go. It's really a masterful piece of songwriting and execution and an audacious way to kick off the album.

That flow and sense of cohesion is still apparent as track two, "Archway of Tears" follows. As the harpsichord begins it almost feels as though we're still within the first track. As the other instruments join in, the bass takes centre stage. It's one of many great moments provided by bassist Nick Antoinette, who is amazing across the whole album.

The title track "A Tower of Silence" is also a highlight. There's more gorgeous piano from David Eaton in the intro, and vocalist Robert James Moulding is at his best here with a heartfelt, measured delivery.

"All That Is" closes out the album with another epic. The interplay of the rhythm section with the keyboards is at times mesmerizing. There's some great Gilmour-esque guitar to close out the album and, to ensure the hairs on the back of the neck are fully erect, a choir ensemble to add the finishing touches.

It would be remiss of me not to mention the drumming of Steve Eaton. It's consistently great across the album, and I love the slightly reverb-y production that has been used on the kit. It suits the album perfectly.

Aside from the music, the album cover is spectacular. It instantly sets an exquisite mood for the album and works as the perfect visual companion. Kudos to the photographer and art director in charge of that piece of work.

Overall a highly recommended album from one of Australia's most talented outfits.

4.5 stars

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 A Tower Of Silence by ANUBIS album cover Studio Album, 2011
4.14 | 357 ratings

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A Tower Of Silence
Anubis Neo-Prog

Review by sinslice

5 stars Transcendent! Outside standard

The typical disk you hear a few times and leave it, hear it again and gradually you discover that it is a rare piece, different, captivating. Admirable and compelling from the musical and emotional standpoint.

When conjugated emotion, melody and progressive musical ability, achieved a masterpiece like this.

The lyrics are intimate and on a spiritual quest, masterfully expressed. Regardless of creed, everyone is looking for answers, the meaning of life.

In the first issue, The Passing Bell, 11 energetic opening minutes, then the song turns into a prayer that begins with a piano that thickens with the rest of the instruments. Amazing! Super guitar work, and throughout the album.

This Final Resting Place, Tower of Silence and And I Wait For My World To End with its outstanding chorus, and masterful instrumental passages, smooth and powerful. The Holy Innocent is a rumble of energy, full of nostalgia.

All That Is ends with some pessimism, and little illusion. In another display of controlled force towards the end.

All musicians make a great contribution, the voice is also appropriate, with a distinctive intonation.

In short, no waste. To Discover and enjoy.

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