After a hiatus of four years since their last album, the band makes a triumphant return with an enthralling assortment of tracks, showcasing their unmatched musical skill and narrative artistry.  With its fusion of technical prowess and emotional resonance, "The Empyrean Equation of the Long Lost Things" is poised to captivate audiences worldwide. Drawing inspiration from the imagery suggested by the lyrics' concept, this album could be likened to the band rediscovering a lost jewel in the music universe after navigating through challenging experiences and losses.

The album begins with “The Empyrean Equation of the Long Lost Things.” A wonderful cacophony of symphony opens the song, followed by a heavy but melodic riff and a blistering guitar solo. The footprint that it makes is massive in terms of sonority, and the musicianship shown so far is impeccable. “My Icarian Flight” also has a broad sound, and it’s clear that the band has thought of every little detail in their music. The vocalist is familiar to me, but it’s been a while, and his voice is still incredible, as are the layered vocal harmonies.

“Sanctimonarium” is a ten-minute opus, allowing the band to more fully explore their Progressive leanings, and they use a variation between major and minor chords to create a sound that keeps moving forward. The vocals are very emotive, and also work well with the music, and there are some KANSAS inspired keyboards. Although the melody and pacing shifts several times throughout the song, they never lose sight of the sound. “The Sacrilegious Mind Machine” has choppy rhythms that flow to smooth waves and back and forth again. Mysterious tones help to develop the melody, along with some fat synth notes. The song ebbs and flows like a small craft headed across the sea, and there are tender moments as well.

“They Call Me God” hears the pace slow so you can gather your breath. It has light keyboards and guitars, but the main focus is the emotive vocals. It’s almost as if he doesn’t want the label. The lengthy “March of the Saints” closes the album, clocking in at 15 minutes. At first, it chugs away with heavy accents but it loosens to let in some warmth. It takes a turn after the half-way mark, with a rich crescendo that lasts for a spell, rises goosebumps on your skin, and leaves you smiling, as it gently fades away. Overall, this was a fantastic album. For me, the best part of the album was listening to the complex compositions and their impeccable musicianship. Although the music is sophisticated, it is also very easy to listen to.