I have no idea what their intent was, but, with the exception of keys (i.e., key signatures, not keyboards), BAI is a virtual carbon copy of LTL.
The intro in LTL (0:00 - 0:25) is an odd time riff that starts with a single instrument (keyboards) and which is subsequently joined by the full band.
The intro in BAI (0:00 - 0:33) is an odd time riff that starts with a single instrument (guitar) and which is subsequently joined by the full band.
From 0:25 - 1:13, LTL then spins off into a variation on the intro riff that decrescendos into something softer and slower.
From 0:33 - 1:34, BAI spins off into a variation on the intro riff. The biggest difference is that it is interrupted by the instrumental version of "reaching out" from 0:49 - 1:13, before revisiting the intro riff and decrescendoing into something softer and slower.
The first verse of LTL (1:13 - 2:42) is primarily driven by a bass riff that alternates time signatures (4-3-4-2), with atmospheric keyboards and low-range vocals and guitar accents, and which slowly crescendos before the pre-chorus.
The first verse of BAI (1:34 - 3:04) is primarily driven by a bass riff that alternates time signatures (7-6-5-7), with atmospheric keyboards and low-range vocals and guitar accents, and which slowly crescendos before the pre-chorus.
The pre-chorus/chorus of LTL (2:42 - 3:10) is majestic sounding, primarily based on whole notes.
The pre-chorus/chorus of BAI (3:04 - 3:40) is majestic sounding, primarily based on whole notes (albeit in 3/4).
The second verse of LTL (3:10 - 4:01) is much heavier than the first and is based on a staccato riff played by the whole band, which intensifies as it moves along.
The second verse of BAI (3:40 - 4:21) is much heavier than the first and is based on a staccato riff played by the whole band (although it does not intensify in the same way as LTL).
LTL then moves to a bridge (4:01 - 5:30) that features an instrumental section that is based around the intro riff before vocals come in. It ends with a slightly airy/jazzy section but features call backs throughout to the intro riff and subsequent variation section. It includes a section where the rhythm section lays out while the guitar and keys take a duo.
BAI then moves to a bridge (4:21 - 6:41) that features an instrumental section that is based around the intro riff before the vocals come in. In this case, the vocals are set over the same musical section that interrupted the intro variations section. It is more majestic/rocking than LTL's airy/jazzy section. However, like, LTL, it includes a section where the rhythm section lays out while the guitar and keys take a duo. This section in BAI is significantly longer and more complex than its counterpart in LTL, and the end bears relatively little resemblance.
From 5:30 - 7:41, LTL features a quiet section with a clean guitar solo over a relatively mellow accompaniment, which builds as it progresses. The guitar switches to distorted electric right before James's whoa-whoa-whoa section, after which the section becomes more majestic.
From 6:41 - 8:51, BAI features a quiet section with a clean guitar solo over a relatively mellow accompaniment, which builds as it progresses. The guitar switches to distorted electric at the end. There is no "interrupting" vocal segment as in LTL.
The ensuing instrumental sections (7:41 - 9:35 in LTL and 8:51 - 10:36 in BAI) are rather dissimilar, but both resolve into a vocal section that calls back to an earlier segment of the song "the way your hear sounds" in LTL and "searching out, reaching in" in BAI. The ends of the two songs are not particularly similar (the bass-based outro in LTL and the majestic keyboard-based ending of BAI).
There are parts of Outcry that remind me of Metropolis, but none of the other comparisons have resonated with me. The LTL/BAI parallels, however, hit me over the head from the first time I heard BAI