At more than 25-and-a-half minutes of music, this is the epic of the set. Piano starts it. There are some ambient elements behind it as it holds the track. This evolves gradually, but it gets into some pretty crazed territory before it’s over and done. There is a lot of art rock and fusion built into it. There is a freeform nature, but it also has dramatic Crimson-like jamming with hints of symphonic. There is a great balance between rocking and mellower modes. There are also plenty of interesting twists and turns along the road. Now, I should mention that this thing is listed as one track, but the CD actually divides it into four. I have reviewed it the way it’s listed on the CD cover, though – as one track. This thing is such a powerhouse, and unusual and satisfying ride that covers a lot of various sounds and concepts.      

This song is just over 14-and-a-half minutes long, making it the second longest track. It comes in tentatively and really weird with world meets symphonic instrumentation that is used in a creepy, spacey way. It feels pretty freaky and dangerous as it builds. It then stops abruptly and string instrumentation comes in. The piece evolves into trippy, spacey weirdness that is very tasty. This turns noisier later, and there is an instrument that sounds like a wailing animal. This gets loud and pretty crazed before it’s done.

There is a healthy helping of piano in the mix on this number. At just over six-and-a-half minutes of music, this is the shortest piece here. It still includes plenty of sonic weirdness and other elements to make it interesting and a varied ride.

While not a big change, this is more freaky stuff in keeping with the rest of the release. It’s fairly freeform and gets pretty noisy at times. It’s also dramatic and effective.