"Behemoth" is spot-on with this one. The first jam is a lot of heavy riffing with the occasional improvised melody built in (and in this sense, I am reminded of the Mike's Song from Gorge '98), and then the second jam kicks in, and things get serious. More incredible soloing from Trey, and then a little later, Page does some cool bluesy piano licks, and Trey takes a back seat, and plays a repetitive metal-style riff, with Page playing some odd sounding keys that complement Trey's playing and tonality almost perfectly.

This part is also very percussion-heavy, possibly with Trey on his percussion kit, but with Page and Mike, it makes for a very other-worldly sound; very tribal-sounding. This particular section is all about Page, and he delivers (but what else is new?)

What comes next is Trey taking the reins again, signalling the end of the percussive jam, and cuing in a melodic lick before toning it down not even quite a minute later for a "> " to Lifeboy.

Overall, this is very well-played, and the transitions between the different sections are pretty fluid, and the band hits some high-marks in this jam, though it may take a few listens to sink in. Of course, I like to look at a spectacular Phish jam, such as this one, to a film that you knew you would really like if you could understand it some more. After the initial viewing, you keep watching and re watching the film until you think that you get it, and with each viewing, you learn something new and appreciate the artistic beauty of the film some more.