Analysis. On the second disc, Finnegan's Wake made a further and, probably, their last steps in the development of Progressive Rock - towards Academic music of course, as there is nothing above the most advanced forms of our beloved genre apart from it. The band has just proved the logical inevitability (or vice versa) of their blending. The classical instrumentation is offered very widely here: oboe, bassoon, clarinet, flute, horn, cello, violin, piano, acoustic guitar and more. The chamber group works musical wonders throughout, but on the first two tracks, Moondogging and Anemia, their patterns cover more than three-fourths of the space. Here goes the XXI Century Classical music, welcome it! If you're into Art-Rock and feel bent for classical forms, start listening to the album with these two. They are so harmonious and beautiful that you will immediately love them and, via them, the entire album, with all the ensuing favorable consequences, as the world of Classical music is infinite. On the other three longer tracks: Brazil RN, Datcha and Moriture te Salutant, the chamber textures more often meet the Rock ones, interflowing into one unique substance, which, lacking some better definition, I would call the XXI Century Chamber Rock with a strong sense of melody. This is a wonderful world where beauty and complexity exist arm and arm, in full harmony, just supplementing each other. (After reading this and trying to listen to the album, an ordinary music lover may say: "He's probably off of his head", but I would pity him himself.) The pieces are composed from beginning to end, which is amazing considering how large is the list of guests and how long the arrangements are. I did forget to mention that there is some female vocalization on Moondogging, while it's just the time to tell you that the remaining two tracks, Wenceslas Shorts and Bon Voyage, are the only featuring vocals and lyrics. Although short, both are quite good. Musically however, they have nearly nothing in common with the rest of the material. The music is a rhythmic Jazz-Fusion with elements of RIO of a French fashion, with the tenor sax being the one non-Rock instrument. It would've been wise of the band to place Wenceslas Shorts at the very end of the first disc, but this isn't a big deal. One may note: "Perhaps both the shorts were written especially for Mr. Redcrossed; otherwise I hardly find a proper explanation for their presence on the album, as well as the singer's presence in the principal lineup." Well, one of the band members, vocalist and lyricist Richard Redcrossed, participated only on two songs, but does it really matter? All in all, this is their most complex, most interesting and most beautiful album to date.