This CD has been "in the can" for many years, the results of sessions recorded during 1994. Unusually the sessions, rather than hitting the CD platter in their virgin state, have been subject to a certain amount of post production work which has resulted in this uninterrupted hour long masterpiece. In traditional style the set is split into distinctive parts, 7 in all. Part 1 opens with screeching effects producing an uncompromising edge which is prevalent at many stages throughout the album. This subsides to leave subtle effects, beautifully recorded and the dimensions of the soundstage are immense. The effects are marshalled into a discordant sequence which gathers pace and stretches into a trademark sequence run as Part 2 takes over. Enter Mellotron choir and the classic RMI sound is there in all its glory, the sort of sound-bite opulence which draws so many admirers. The track ebbs into Part 3, a resonating cascade of choirs, synthesis and effects which takes the phrase "multilayered" to he extreme. Part 4 and we return to sequence heaven, a bass laden rhythm decorated by all manner of high register detail. Guitar riffs vie sublimely with mellotron timbres to form a gripping 13 minutes. Part 5 is the most extreme section so far, an incessant wall of electronic noise through which lighter tones attempt to emerge but never quite succeed until the guitar riffs of part 6 take over. Part 6 is perhaps the most striking section, an immensely infectious Floydian guitar piece which proves this band has melodic as well as atmospheric depths. Part 7 ends with appropriately stylistic effects. This is classic RMI, and though the sleevenotes suggest this is a more experimental tome it actually sounds fairly contemporary with their other albums.