When FOTN recorded Elizium in 1990 they had taken over the mantle of the most important underground cult band in the country. Their live shows were monumental affairs, attracting legions of devoted followers who followed them around the country to partake in shows that Carl McCoy termed 'rituals'. As far as I am concerned this band were the last great music group, tapping into various types of 70s 'rock' and taking musical mysticism to its natural conclusion. By the time they split up a year later, the music industry was entering a nadir that was probably almost as bad as the gluttonous low-point it is at at the present time (2002). I'm afraid the Stone Roses were just not up to the task of single-handedly carrying independent music on their backs at this time. If FOTN had followed up Elizium with another studio album in 91 or 92 things could have been different. Why? Well, all you have to do is listen to this record. The sheer scope, range and ambition of the piece is startling, even on the first listen. From the rumbling intro of 'Dead but Dreaming' to the achingly beautiful descent of 'And there will your Heart be also' this is a record crafted in... well Elizium. It is fundamentally a record in a single piece: a symphony in allegros, andantes and a finale. It has a sense of completeness that satisfies as no other record I have ever listened to. Permeated as it is with a near obsession with Sumerian mythology, the band have somehow managed to catch the essence of an ancient time and place, several steps removed from reality. There is simply not a weak point in the writing, musicianship, or the engineering. Even the Aleister Crowley samples sound good! It is very difficult to listen to a single song in isolation -- the album needs to be appreciated in full, because there is such a seemless blend between each piece of music. And that music is of the highest quality and imagination. Most especially, the two-piece finale 'Wail of Sumer/ And there will your Heart be also', a 14-minute cascade of puncturing bass, swirling guitars, airy vocals (yes McCoy does do airy vocals!) and ethereal pipes are directed at a higher level of consciousness. This record is a genuine masterpiece in every sense of the word, and I doubt whether the purported rebirth of FOTN in September 2002 will be able to muster anything near it.