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After, 's orchestral detour into greatest hitsville, the Liverpool band return with a true follow-up to. What accomplished was to make the band comfortable with the string arrangements of; they're used abundantly - and to great benefit - on (produced by with and ). Guitarist has written a set of songs that are more daring, harmonically ambitious, and poetically sophisticated than anything he's previously attempted. Vocalist and occasional keyboardist arranges them for drummer, vocalist, and help from on bass. Piano, acoustic, and electric guitars continue to dominate 's latter-day sound, but strings are now an immense part of their textural architecture.
's brand of 21st century prog embraces pop's grandest scales and accessibility without mindless kitsch, shallowness, or phony detachment. This material, which is lyrically on the heavy end of the emotional scale, is offset by the sheer beauty of the compositions and orchestrations. The album explores the range of human emotions regarding death - the acceptance of its inevitability and the transcendence of the fear it engenders - which illuminates these nine songs. According to 's lyrics, it's the ferocity of love that both bridges the mortal divide and renders fear impotent. While on the surface the piano and acoustic guitar intros on most of these songs may seem to be repetitive, they are merely feints, serving as guideposts to vast interiors, musically, sonically, and lyrically.
It's a gorgeous whole, but there are standouts. The two parts of 'Untouchable' feature and on alternate, contrasting leads. The first part is mostly driven by guitars and drums with strings added for depth; the second is drenched in strings and becomes the first part's mirror image.
'Lightning Song' features. Her crystalline vocal helms the track as it gradually gathers intensity until explosive electric guitars transform it into an anthem, yet she rises above to carry it home. 'Sunlight' begins quietly, but its drums and electric guitars gather into a storm force, yet the hook remains transparent. Closer 'Internal Landscapes' - introduced with ambient electronics and a field recording of a near-death experience - breaks free from its initial weightiness with its sheer musicality and honest emotional expression from. Stands with 's finest work. They've not only escaped the limitation of expectations, they've exceeded them.
Going back to an earlier album for inspiration isn't usually a winning strategy, but Anathema are no ordinary band. The muse for The Optimist is the unaccounted-for protagonist from 2001's A Fine Day to Exit. The final sounds on that record were waves lapping on a shoreline. They introduce opener '32.63N 117.14W.'
These are the coordinates for Silver Strand Beach in San Diego, the last known whereabouts of that character. A radio gets tuned, and of course, Anathema is playing on it. Frenetic electronic beats enter to introduce 'Leaving It Behind,' and it erupts, canceling all musical similarities to the earlier album. Fans may remember that in 2001, the band were indeed leaving behind their identity as a ferocious, doomy Liverpudlian metal band to enter a period of moody introspection. It would last until 2010's We’re Here Because We’re Here and expand from there, widening a scope that would include more lush textures and atmospheres and result in some of their finest songs.Here Anathema have brought the experiments of the last seven years to a culmination of sorts. Vincent and Daniel Cavanagh, drummer John Douglas, vocalist Lee Douglas, bassist Jamie Cavanagh, drummer/keyboardist Daniel Cardoso, and producer Tony Doogan deliver nothing short of grandeur here. The Optimist is aggressive, expansive, and unforgiving.
'Leaving It Behind,' with its brittle junglist loops, is answered by sharp guitars and Vincent's voice as it reaches for the lyrical margins to break free of the past. Two minutes in, the band kicks in, blasting and demanding that freedom. It's a hell of a kickoff, but the gears shift when Lee Douglas' lead vocal claims the balladic entry to 'Endless Ways' backed by an acoustic piano, strings, and a lilting tempo that borders on pop, but it's only an intro. Anathema up the ante adding layers of electronics, urgent sweeping guitars, and cymbal and snare crashes as the tune ascends, shedding its frame. Anathema work magic in the longing atmospherics of the title track and the crashing proggy shoegaze of 'Springfield'; it's fleshed out in set highlight 'Ghosts' as Douglas sings like a bereft angel surrounded by piano, wispy percussion, and elegant strings. This is all followed by the post-new wave urgency of 'Can't Let Go,' and the spectral electronica of 'Wildfires.' Set closer 'Back to the Start' brings back the lapping waves, this time with an acoustic guitar.
Cavanagh's delivery is cathartic; he's answered by driving, squalling lead guitar, waves of synths, a densely harmonic backing chorus, stadium rock drums, and a wall of strings before the mix unravels into more 'found' sounds providing an entrance into yet another place. (Sorry, no spoiler.) The Optimist concludes the 2001 story not by ending it, but by opening another chapter altogether.
This is Anathema at full throttle, bringing not only their previous musical identities to bear but also projecting possible futures. This set is unified, fully realized, and eloquent, on par with the grandest of musical statements, yet utterly accessible. Thom Jurek. Anathema are one of the select few bands that actually progress with each album, honing their songwriting skills to provide a better means for their musical message - but a six-year gap in the recording schedule that preceded We're Here Because We're Here still left many fans wondering, where do they go from here? Turns out, it was in the right direction. The most easily recognized change is the increased emphasis on piano, which is the leading instrument on most songs, but if this description brings the likes of Coldplay and Fray to mind, the music does not, for the simple reason that Chris Martin, let alone the horde of his mainstream rock imitators, can never rival the immense emotional charge of Anathema's music. The cathartic effect is further amplified by the music's elaborate but clear arrangements, with pianos, strings, shivering vocals, and quietly wailing guitars blending together into elegant and dramatic songs with a rich sound of mini-symphonies - and clever hooks hidden in the textures.
Vibe-wise, it is prime Anathema, with the mood tethering on the brink of despair, but always resolving into optimism or at least dreamy, elegiac resignation (to speak of maturity again), the way no one seems to be able to do since Sunny Day Real Estate threw in the towel a decade previously (though the two bands have little in common stylistically). We're Here Because We're Here is not perfect - the polished production smoothes out the hooks, making it easy to glide on the surface instead of immersing oneself into the music on the first listen. But still, this is Anathema's most mature and complex effort to date - exactly as could be expected of the band's new album. Alexey Eremenko. Given Anathema's gradual transformation from doom metal merchants to sophisticated prog rockers over the course of many personnel changes since the mid-'90s, an album like Falling Deeper was a logical conceit.
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The band first revisited select moments from its catalog on the unplugged offering Hindsight in 2008. For some, it foretold the end. Then the band surprised many by returning in 2010 with new ideas and a renewed sense of purpose on the musically and sonically expansive - yet utterly accessible - We're Here Because We're Here, which drew raves from critics and fans alike. But digging into their oeuvre was an unsatisfied hunger for Anathema's founding brothers, Daniel and Vincent Cavanagh (who are in the company of Jamie Cavanagh and John and Lee Helen Douglas here). For Falling Deeper they've cherry-picked nine more selections from their recorded history and thoroughly rearranged and re-recorded them with arranger Dave Stewart and the London Session Orchestra led by Perry Montague-Mason.
Further, they've enlisted the help of vocalist Anneke van Giersbergen, formerly of the Gathering. In essence, this set is for longtime fans only. The music, as beautifully arranged, performed, and produced as it is, doesn't go very far under the surface to get at anything dramatically new in creating a sense of revelation for the listener.
Textures and atmospheres highlight Daniel Cavanagh's already brilliant melodies. If anything, these embellishments only serve to undermine what was already there and bury it in dynamic arrangements and over-production. It's a fine listen through and through, but once is enough - unlike the vast majority of Anathema's standard catalog.
Ultimately, Falling Deeper can only be regarded as elegantly presented mood music. Thom Jurek.
Although the British band Anathema left their traditional death metal sound behind on The Silent Enigma with guitarist Vincent Cavanagh taking over vocals duties from growler Darren White, the dark themes continue. Shifting their morbid focus from God-bashing and destruction, the chaps focus on suicide and the meaningless of life. The blistering guitars have been replaced by atmospheric keyboards making this come off as a twisted combination of Pink Floyd and Peter Gabriel, and there is even some spoken poetry here. As a whole, Anathema has proven that they are an original band, not content to repeat history.
Unfortunately, there is a place in this world for such dark subject matter, and for those who care, Eternity fits the bill. Robert Taylor.