Review by tszirmay — 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