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
