Well, as you’ve probably already guessed, it does just that and then some. The simply self-titled Anubis Gate grabs your attention with its mesmerizing album artwork and keeps it with the astounding hour of music beyond. The title seems to fit the motif here, this being the band’s first without a concept since A Perfect Forever. It could also serve as a convincing resume to Anubis Gate’s entire body of work, containing elements from each of the group’s eras. Some of the tracks call to the powerful riffing of Purification while others assume the spacey finesse of their more recent works. There’s something here for fans of each style, and truly, fans of any kind of non-extreme metal music will be left in wonder by this display of sheer perfection. When considering the amount of disparate ideas expressed by Anubis Gate’s fifth masterpiece, the shining musical victory here becomes that much more dumbfounding.
The performances are top notch as always, perhaps standing out even more now than ever. The department people will be concerned about the most is the vocals. Rest assured, they’re in safe hands; bassist and long time lyric writer Henrik Fevre flawlessly assumes the position, delivering an emotive performance well beyond that which I could have ever imagined. He has that distinctive Danish sound, finding the middle ground between previous singers Askholm and Hansen, higher pitched than the technically far superior to the former, but not far removed from the latter. Everything else about this album is a logical progression, and the vocals are no exception. They’re affluent with youth and vitality, lacking not in grandeur or intricate harmonies (though that tactic has been slightly toned down when compared to The Detached).
Kim Olesen delivers a typically wonderful showcase through two mediums, that of lead guitar and keyboards. The synthesizers and those little electronic effects are what really make the Anubis Gate sound what it is, and they’re here in the greatest abundance yet. Each nook and cranny is filled with these graceful, atmospheric keys, managing to add an essential component to the band’s otherworldly feel while not coming off as forced in doing so. Look to the intro of “World in a Dome” for a pyrotechnic example. Morten Sorensen’s drum playing is pristine also, putting on a jaw-dropping show particularly on “Telltale Eyes.” Of course, individual performances mean nothing if the songs themselves don’t measure up. Luckily, exceptional songwriting is the facet that takes Anubis Gate from great to brilliant. It should be noted that all primary members contribute material, saving this from the power-hungry monopoly seen all too often in other groups. This fact shows through in colorful shades of diversity.
“Hold Back Tomorrow” is the perfect opener, a well-structured piece that builds progressively through stages to its vocal sweetness. Mid-paced “The Re-formation Show” might be my favorite on the entire album just because its sprawling chorus is so damn catchy, surprising when you consider how abnormal and off-time that riff just beneath it is. Sometimes I find myself singing “it’s been a long, long time” out of nowhere because of this song. “Facing Dawn” is a kinetic maelstrom of melodic fireworks from start to finish. “World in a Dome” is the slowest to develop of all the tracks, but when all’s said and done, it’s still a nice eight minute stomper. This is where the album really takes off into the skies. “Desiderio Omnibus” arrives with unmistakable power and a chorus for the ages, creating the fastest and most energetic song on the release. This tune gives off a strong US power metal vibe, not to mention some similarities to Kamelot.
The biggest surprise comes in the form of “Oh My Precious Life,” a resounding, distorted frenzy complete with a hard rock riff gone progressive. The results stun. Another one for the highlight reel, “Golden Days” displays commercial effectiveness yet doesn’t lose an ounce of its genuine emotion. The synths and lyrics here are simply majestic. “Telltale Eyes” crushes with supreme heaviness at first, but unveils a sweeping synth web that catches the listener during its elegant and unforgettable chorus. “River” is a mostly instrumental number that serves simultaneously as a nice poem and intro for “Circumstanced,” the epic nine minute conclusion. The music and lyrics portray the subject matter, a past love not wanted, with poignant reality. All in all, it’s a very appropriate closer.
Now it’s official; in less than a decade, the Anubis Gate catalogue has officially become a dynasty. This band is on a death-defying streak of records that seriously challenges legends like Queen and Rush during their prime periods. I can only hope they last just as long and get a similarly heated following. It's admittedly not as reality-defying as its predecessors The Detached and Andromeda Unchained, the former of which I would view as an example of veritable perfection, but it still stands tall among the myriad genre pieces released today. No other band in prog creates such well-crafted songs of sublime composition with a sound as unique and atmospheric as this. Sadly, this will be another occasion when the deserving are cast aside for the popular fading idols of yesteryear. I can only invite the enlightened to partake in this excellence.
Overall: 9.25/10 (Outstanding - you're just a phantom in my soul)
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