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ANATHEMA

Experimental/Post Metal • United Kingdom


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Anathema biography
Founded as Pagan Angel in 1990 in Liverpool, UK

Their original line-up was: Darren White (vocals), Vincent Cavanagh (guitars), Daniel Cavanagh (guitars), Jamie Cavanagh (bass), and John Dougals (percussion), under the moniker PAGAN ANGEL. Since then, there's been too many line-up changes to mention here, although Vincent, Daniel, and John have all maintained status in the band, except Daniel briefly in 2002 (click on the album's for more line-up information). They would release one demo and then change their name to ANATHEMA. They released two more demo's and then were discovered by Hammy of Peaceville Records, who signed them. They went on to be the most overlooked gem of the '90's. Starting as romantic doom metal ("The Crestfallen", "Serenades", and "The Silent Enigma"), and then transitioning into an avant-garde experimental force. Each album bears evidence of progression. The vocals are always improving and becoming even more poignant, accenting the music and lyrics (which this band are probably the best lyricist's out there). "Eternity" was sort of a transitional album for them, somewhat abandoning the guttural cries of despondency and replacing that with Vincent Cavanagh's beautiful singing voice. Their influences range from PINK FLOYD to The BEATLES to RADIOHEAD. The future for ANATHEMA is promising because they are the future.

"The Cresfallen" and "Serenades" are mainly attracted by doom metal fans because of the pace of the music and Darren White's moody vocals. "Pentecost III" showed the band exploring long escapades into realms not traveled by any band in their genre. Also being the last release to feature Darren White on vocals. "The Silent Enigma" is a monumental album, blending beauty and despair, poetically. "Eternity" was the transitional album, where they explored the vast expanse of space (a la PINK FLOYD). "Alternative 4" and "Judgement" were both excellent editions to their catalogue, but lacking the experimentation of the next two albums. "A Fine Day to Exit" was a large step into various different soundscapes. It was followed by "A Natural Disaster," where they achieved a sound completely their own, surpassing even RADIOHEAD, with their absolute exploration of the unknown. "We're Here Because We're Here" was released in 2010 and continued to show signs of progression of the band's sound.

Highly recommended: "Pentecost III," "The Silent Enigma," Eternity," and "A Natural Disaster."

: : : Kurt Zander, USA : ...
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Buy ANATHEMA Music


We're Here Because We're HereWe're Here Because We're Here
The End Records 2011
$12.17
$7.01 (used)
The OptimistThe Optimist
KSCOPE 2017
$10.18
$10.21 (used)
Internal LandscapesInternal Landscapes
Kscope Import 2018
$17.99
JudgementJudgement
Sony Music Canada Inc. 2011
$5.41
$4.99 (used)
A Natural Disaster (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)A Natural Disaster (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)
BMG/The End Records 2015
$12.79
$25.96 (used)
UniversalUniversal
KSCOPE 2017
$11.18
$11.17 (used)
Distant Satellites ( Tour Edition )Distant Satellites ( Tour Edition )
KSCOPE 2017
$13.98
Weather SystemsWeather Systems
K-Scope 2016
$8.94
$12.62 (used)
Alternative 4Alternative 4
Remastered · Extra tracks
PEACEVILLE 2017
$7.74
$5.98 (used)
Fine Days 1999 - 2004Fine Days 1999 - 2004
Sony Music Canada Inc. 2016
$9.05
$6.58 (used)
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ANATHEMA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ANATHEMA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.33 | 201 ratings
Serenades
1993
3.14 | 234 ratings
The Silent Enigma
1995
3.60 | 324 ratings
Eternity
1996
4.05 | 572 ratings
Alternative 4
1998
4.16 | 655 ratings
Judgement
1999
3.83 | 462 ratings
A Fine Day To Exit
2001
3.90 | 524 ratings
A Natural Disaster
2003
4.05 | 856 ratings
We're Here Because We're Here
2010
3.81 | 393 ratings
Falling Deeper
2011
4.03 | 864 ratings
Weather Systems
2012
3.67 | 412 ratings
Distant Satellites
2014
3.58 | 125 ratings
The Optimist
2017

ANATHEMA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.46 | 82 ratings
Untouchable
2013
3.94 | 37 ratings
A Sort of Homecoming
2015

ANATHEMA Videos (DVD, Blu-ray, VHS etc)

3.36 | 29 ratings
A Vision Of A Dying Embrace
2002
3.33 | 49 ratings
Were You There live
2004
3.45 | 64 ratings
A Moment in Time
2006
4.51 | 134 ratings
Universal
2013

ANATHEMA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.57 | 26 ratings
Serenades + Crestfallen
1995
3.19 | 36 ratings
Resonance: Best of Anathema
2001
2.63 | 28 ratings
Resonance 2
2002
3.93 | 148 ratings
Hindsight
2008
4.42 | 24 ratings
Original Album Classics
2011
4.00 | 8 ratings
Resonance 1 & 2
2015
4.29 | 7 ratings
Fine Days 1999 - 2004
2015

ANATHEMA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

1.27 | 13 ratings
An Iliad of Woes
1990
1.59 | 14 ratings
All Faith is Lost
1991
2.80 | 10 ratings
They Die 7''
1992
2.23 | 58 ratings
The Crestfallen
1992
2.20 | 16 ratings
We are the Bible 7''
1994
2.88 | 68 ratings
Pentecost III
1995
1.63 | 11 ratings
Alternative Future
1998
2.42 | 12 ratings
Make it Right
1999
2.65 | 18 ratings
Deep
1999
3.80 | 15 ratings
Pressure
2001
3.30 | 10 ratings
Unchained (Tales Of The Unexpected)
2008
4.45 | 34 ratings
Everything
2010
3.25 | 4 ratings
Dreaming Light
2011
2.67 | 3 ratings
Untouchable Part 1
2012
2.67 | 3 ratings
Untouchable Part 2
2013
2.33 | 3 ratings
The Lost Song Part 3
2014
3.00 | 2 ratings
Untouchable
2014

ANATHEMA Reviews


Showing last 10 reviews only
 We are the Bible 7'' by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1994
2.20 | 16 ratings

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We are the Bible 7''
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

2 stars This is a very rare single that was originally only made available to subscribers of the Collectors Club. It was recorded in 1994 in the early doom metal days of Anathema, back when they sounded nothing like they do now. Both tracks are improvised songs recorded in studio, which is a rarity in the doom metal genre, so this shows Anathema's willingness to go above the norm, even in their early days, if nothing else.

'Nailed to the Cross/666' is the A Side. It starts as a slow drum pounds a rhythm and atmospheric guitars wail out feedback. The vocals are dirty of course, as they were in the early days. The tempo soon speeds up some while the vocalist chants out 666 in a gruff voice against a repetitive riff. Guitars take over and then drag the song to it's close.

'Eternal Rise of the Sun' starts with a slow guitar which soon gets layered with another guitar and a progressive pounding rhythm. The percussion levels out finally to a slow processional beat. The vocals are deep but spoken this time, so at least they can be understood. There is an attempt to sing, but it's not great singing and you wish he soon goes back to spoken vocals, which he does. The beat and bass follow a repetitive pattern, but there is a higher guitar that plays a more improvised part. The beat stops at 4 minutes, and then returns picking up speed while the other instruments follow suit, but following a same pattern. Suddenly an acoustic guitar starts playing on top of all of this, interestingly enough.

These 2 tracks are really surprisingly good and you can tell this is a band that is willing to try new things. Of course, their sound would change over the years. The Cavanaugh Brothers would, for the most part, be consistent members of the band throughout, but others members would change according to the style of music they were working to play at the time. It is often hard to believe this is the same band that would release the amazingly emotional post metal albums 'Weather Systems' and 'A Natural Disaster', but this short single is a sign that the band was looking to perfect their sound. Even with that, however, this single is more of a curiosity for fans than anything else, as the music, while surprising, isn't really that amazing. For collectors and fans only.

 Falling Deeper by ANATHEMA album cover Studio Album, 2011
3.81 | 393 ratings

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Falling Deeper
Anathema Experimental/Post Metal

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Deep and beautiful

Following the 2008 album "Hindsight", where Anathema revisited some of their more recent songs, and placing them in a softer, more acoustic setting, the band took the project a stage further in 2011. Falling deeper into their doom-laden past, this appropriately titled album brings a new found grace and beauty to some of their earliest material. While at the time of those recordings the band were known for their growled vocals and funereal sounds, it was always apparent that underlying it all was a collection of fine melodies and sensitive performances. "Falling deeper" finally allows those nuances to come to the fore as the band call upon Dave Stewart (of Egg) to add orchestral arrangements while they themselves seek to exploit the lyrical and musical themes that were often buried under the deluge of thumping and growling.

The eight songs included here (the album runs to under 40 minutes) originally appeared on albums and EPs such as "Crestfallen, "Serenades", "The Silent Enigma" and "Pentecost III". We open with the two part "Crestfallen / Sleep In Sanity" which is rather cut down from the original 10 minutes of "Crestfallen" (on the EP of that name) and 7 minutes of "Sleep in Sanity" (on "Serenades"). Instantly, we are presented with a piece of great beauty and harmonic perfection. Gone are the random growls and manically depressive lyrics, this interpretation relying solely on the underlying strength of the song. "Kingdom" was for me one of the more palatable songs on the "Pentecost III" EP. That album bore the first hints of the band's direction change, and it is those hints that are exploited here, with full orchestration.

"They die" previously appeared on the "Crestfallen" EP and also as "They (Will Always) Die" on "Serenades". As with most of the tracks here, it is pared back quite a bit, becoming much tighter and more focused in the process. "Everwake" was already the best track on "Crestfallen", but here it benefits further from the divine female vocals of Anneke Van Giersbergen, the heavier backing and superb orchestration once again resulting in an album highlight. "I made a promise" originally bore its French title "J'ai Fait Une Promesse", but here it loses its female vocal, becoming a soft instrumental.

"Alone" is one of the few songs to be in a longer from here than it was originally (on "Silent Enigma"). On that album, the symphonic overtones were already apparent. Here, the arrangement is actually a little more Spartan, the emphasis being more on the acoustic aspects. "We the gods" once again removes the vocals completely, along with about 6 minutes of the original song, leaving a delightful instrumental piece. "Sunset of age" is the closing track on my version of the album. It makes for a superb finale, with (dare I say) ELO style swirling strings and a heavy back-beat laying the foundations for a strong melody. Here, an excellent lead guitar solo adds a further welcome dimension.

"Falling deeper" sees the band going back to their early days for the basic songs, but then transforming them into pieces that would fit well into their current output. The symphonic orchestration brings out the full beauty of the melodies, resulting in an album that is every bit as good as the bands fine albums from their more recent past.

 Weather Systems by ANATHEMA album cover Studio Album, 2012
4.03 | 864 ratings

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Weather Systems
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

5 stars 'Weather Systems' from Anathema is the ninth full-length album in their discography. The line-up is the same as the last album except for the absence of the keyboardist Les Smith. Keyboard duties are shared by other band members through this album. Where the previous album 'We're Here Because We're Here' (WHBWH) was produced by Steven Wilson and had a more symphonic feel to it. This one is produced by members of the band and, even though it has symphonic aspects to it, it seems to be less noticeable. However, it is an album that is a lot more moving and emotional than WHBWH and "Falling Away". Also, Lee Douglas has more lead vocals than she did in WHBWH, where she did more support and harmony singing.

Immediately, this album starts off sounding a lot different from the last one, with an upbeat track, the first part of 'Untouchables' being driven by an acoustic guitar playing a quick arppegiated chord pattern. Vocals start up quickly and this song gets more and more exciting and intense as volume builds to a somewhat heavy and driving song. The 2nd part starts off much slower with a piano riff and a more emotional vocal. After the first verse, it gets a little more symphonic as Lee Douglas takes over vocals on the 2nd verse. Her voice is a welcome change as a regular in the band since the previous album. Harmonies as both singers join together. This has a nice build in intensity even if it stays at a slower rhythm.

'The Gathering of Clouds' starts with the sounds of thunder and strings. It has a dramatic feel to it with a rumbling guitar and some interesting, contrasting vocals singing different lyrics. It flows into the next track 'The Lightening Song', which is headed by Douglas' voice. This one continues the same feeling until about the 3 minute mark where it explodes into a crashing and emotional climax.

Up to this point, the male lead vocals have been from Vincent Cavanaugh, but the next track 'Sunlight' is sung by Daniel Cavanaugh. His vocals are softer than his brother's, but that fits the mellow feeling of the song. This one, however, has a build somewhat similar to a Post Rock song, especially when it comes to chiming and repeating guitar chords in the heavy climax.

'The Storm Before the Calm' is the longest track on this album at over 9 minutes. This is the only track not written by Vincent as it is actually written by the band's drummer John Douglas. This one has a darker feel with a great intensity that builds in the verses and releases in the dramatic choruses. The feeling is more metallic and harsh, especially during the instrumental sections. There is a sudden release around 5 minutes and things get calm, as noted in the title. There is a build and vocals start again once again building in intensity. This track is very cinematic and emotional, and also an amazing progressive song.

'The Beginning and the End' is more driven by lyrics and piano. It is a mid tempo song that would work great as a single. Great, emotional vocals with another great build up in intensity and an impressive guitar solo before the ending. 'The Lost Child' has the Cavanaugh brothers sharing vocal leads. It starts out ambient with an echoing wordless vocal later joined by strings. A nice piano interlude begins and vocals eventually start. The harmonies evoke a dark feeling using minor 4th key counterpoint (known as the evil interval). As it builds in volume and intensity, the harmonies break out of this interval and become very emotional. Another beautiful piano-led interlude finishes the track off.

The last track is another one that approaches the 9 minute mark. 'Internal Landscapes' starts off with a spoken word section done by a guest artist speaking of a near-death experience. When the singing starts, it's Lee and Vincent sharing lead vocals, singing softly with a pensive feel. It gets more intense about 4 minutes in.

One thing apparent about this album is the amount of emotion but into the vocals where on the previous album, the feeling was more morose. This one is a brighter feel throughout, though most of the tracks are slow at first with a building intensity. This album has some very beautiful tracks, well done and well produced. The album has all the great traits of the last album, but with a more heartfelt attitude. Even after hearing it several times, I put it up there with the bands best, and it easily earns a place among the best progressive albums.

 We're Here Because We're Here by ANATHEMA album cover Studio Album, 2010
4.05 | 856 ratings

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We're Here Because We're Here
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars So, with this album, we are up to Anathema's 8th full album release. They have come a long way from their black metal beginnings. This album is many times more positive and less morose than their previous releases, which tended to be quite dark, even if when they had separated from the heavy sound they started with. The songs now are much mellower, yet they are replete with emotion and passion.

The 3 Cavanaugh brothers are still present, as they have been most of the time through the band's history. Vincent and Daniel still share vocal duties, but they have added another vocalist in Lee Douglas as a full time member of the band. This is the main reason for the brighter feel of this album, but she is an excellent vocalist, so all is good. You will notice her providing harmony in most of the tracks, and with her past guest vocalist duties with the band, it only seems natural to hear her singing as a regular band member.

This album is so well orchestrated and produced. Steven Wilson, of course had a hand in mixing the album, which explains the clarity of every instrument and sound. Interestingly enough, the album does not take on the sound of a Wilson project so much, because of it's positive feel, where most of Wilson's projects tend to be dark. The feel of the tracks is expansive and full, with many places being almost orchestra-like. The keyboards stand out a lot more in the tracks, but don't worry, there are plenty of places where the guitars kick in making the impact of many of the tracks even that much more solid.

Now, with all of this amazing musicianship, there are weaknesses here that weren't as apparent in the previous album, and that is a tendency to get too poppy sounding towards the middle of the album. In addition to this, 'Presence' is an annoying spoken word track with organ supplying back up. Fortunately it is a short track.

Things do get better again after the weak middle however. You know everything is back on track when 'A Simple Mistake' starts playing, and there is a collective sigh of relief. So tracks 4, 5, and 6 might be weaker, they aren't so bad to ruin the album. 'A Simple Mistake' has the feel of one of Pink Floyd's better tracks with a guitar solo that is not only awesome, but very progressive too. And the amazing songs continue after this on through the final track. It's almost as if the band is closer to Symphonic Prog than it is Post Metal.

There is so much to love about this album, and I have always loved Anathema when they are at their most expressive, which happens many times in this album. The weak middle part of the album does bring it down a notch, but for top quality, emotional and passionate music, the rest of the album should not be missed simply because of that. Unfortunately, it takes away from what could have been a 5 star album. When it's at its best, this is still high quality emotional prog.

 Alternative 4 by ANATHEMA album cover Studio Album, 1998
4.05 | 572 ratings

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Alternative 4
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars After starting out as a doom metal band, by their fourth album released in 1998, Anathema has taken steps in the right direction. "Alternative 4" still retains two of the original members, Vincent and Daniel Cavanaugh. Duncan Patterson is on bass and has been since just before 1991, so he's almost an original having replaced Jaimie Cavanaugh. However, the drummer is newcomer, Shaun Steels, and thus this is the only album that does not have John Douglas on it. Steels would only be in the band for this album and John would rejoin to remain with the band until present day. Steels does an adequate job however, it is hard to tell much difference in the sound of the percussion on this album.

So, by this point, the growling vocals have been replaced by clean vocals by Vincent, who sometimes almost sounds like Roger Waters from Pink Floyd. The vocals are definitely emotional and dymanic. Everything else is also in top form, except for one thing, they haven't quite found their sound yet. There are times on this album that are definitely top notch, but for the most part, there really isn't anything much that is progressive here. The band is no longer just doom metal, but more like a dark, hard rock with a lot of slow beautiful melodies mixed in. It's a good mix and a good sound, but it's still not as great as it will become.

Overall, this album is enjoyable, yet very dark and depressing. There is a lot of great heavy guitar here, enough keyboards to keep a certain degree of variety in the sound. Most of the sound that stands out here is in the guitar work, and that is the best part of this album. The band approaches a progressive sound, as in the title track, with some tricky percussion and rhythm, but the meter is still a basic 4/4. Not that this necessarily determines if it is progressive, because there is plenty of great progressive music that is in a basic meter. The songs and lyrics are not formulaic, but they do sound very much like a heavy metal attitude, just toned down to give a feeling of more variables in the music. This leaves the band open to explore some more mellow passages, which they do also.

So with there being a lot of variety in the sound, the songs don't seem to vary much in having their own personalities, they all seem to follow a similar sound. Aside from this, the album is good enough to listen to from time to time. The best parts of the album are in the title track and in "Regret" which coincidentally are the longest tracks on the album. It seems like there is more freedom to explore the music and things aren't quite so rushed. There is another degree added to the album in the bonus tracks that are available on the 2003 remaster. All four of the bonus tracks are covers, and three of those covers are Pink Floyd songs, so there is definitely a degree of their influence in the music the band was exploring at the time. The other cover is a Bad Religion cover "Better Off Dead", so there is part of the Alternative influence. This cover is absolutely amazing and emotional and I just love it. This is a good, heart-felt album, and the movement of the band is in the right direction here, but because of the degree of same-ness on this album, it's a strong 3 star album.

 All Faith is Lost  by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1991
1.59 | 14 ratings

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All Faith is Lost
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

1 stars This demo tape, released by the band, is quite a far cry from what they become. Of course, it is close to their original sound, that of doom/death metal with growling and unclear vocals. Their albums would show marked improvement, which is what you would expect, but even the demo songs here demonstrate the bands talent in the instrumentation department, but not so much in the lyrical and vocal aspects.

As a rule, I don't care for these growling or screaming vocals unless some emotion or some degree of musicality is present, as with Devin Townsend, Opeth or Orphaned Land. But this is not the case in the early Anathema demos and unfortunately in their first EPs and albums. The guitars and the drums here are decent enough, but the vocals and lack of emotion just don't appeal to me. It makes the music sound too much alike and it also takes away from the talent apparent in the rest of the band. These songs are all about darkness and depression, and become increasingly darker as they go on.

"Crestfallen" is the best song on here, it shows off the real talent of the band in instrumentation and emotion, but is still not the easiest thing to listen to, and the EP version would end up being better than this version. "At One with the Earth" and "All Faith is Lost" have awful vocals and cancel out any other sounds that may come from the band. "They Die" is a little bit better, but this one is also on "The Crestfallen" EP in a much better version. It still has the growly vocals I don't like, but again, the best part of the music is the instrumentation here also.

I would suggest not searching for the demo tapes, even if you are into death and doom metal, unless you are a completionist. If you like this kind of music, then look into getting "Serenades" or "The Silent Enigma" or the EP "The Crestfallen". If you like more experiemental or emotional music, then you definitely need to check out anything else by the band, because they are amazingly talented. Their clean vocals in everything released after "The Silent Enigma" don't take away from the music and their ingenuity is much more apparent.

 The Optimist by ANATHEMA album cover Studio Album, 2017
3.58 | 125 ratings

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The Optimist
Anathema Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

4 stars I've been a pretty huge fan of this band over the years so I was really pumped when I heard they were doing an album that was to close the chapter on "A Fine Day To Exit" from 2001. This isn't a new idea but one that is intriguing to say the least. But why bother? Well back in 2001 the critics were all over this band for the apparent positive spin on suicide based on that album cover showing a car parked on the beach with a man's clothes and shoes cast on the beach with him nowhere to be seen. In the car we see notes including one that has "A Fine Day To Exit" on it, plus there's beer cans, a liquor bottle, a cell phone with "missed call" on it, a bottle of pills and a gun. Also a picture of him, his wife and son. The man was on a mission to end his life but the question is why? And did he? Well there wouldn't be a part two if he had drowned in the water which I think is something you would know if you listened to the ending of that album. I stated in my review at the time that he was still alive based on that final track.

So maybe this is an answer to the critics but I also feel it's closure to an album that had more questions than answers. Having said that they really keep things close to the vest as to why he was going to end his life leaving a lot of hints on this record in the process. They seemed pretty intent on putting a positive spin on this one and hence on "A Fine Day To Exit" even with the title of this record. This feels like they're changing the perceived negativity that many had for "A Fine Day To Exit". Also they even have their name on this album spelled differently as ANA_THEMA. I would describe the music and lyrics as meaningful and emotional. More electronics than ever and the sound is fairly stripped down with plenty of piano at times. Travis Smith takes care of the art work once again.

So what's this all about? Well I can't be sure but based on a couple of things I think he may have lost his son which was the reason for the suicidal attitude. Just a hunch based on the album cover of "A Fine Day To Exit" which shows the face of a boy in that car parked on the beach. On the back cover of the same album the father is shown driving at night and seeing this boy on the road. Clearly a ghost and "The Optimist" has a song called "Ghosts" but perhaps the biggest detail is the final moments of this album where our subject pulls up to a house knocks on the door and as it opens there's a pause and then he says "How are you?"(he's back) then minutes of silence before we hear our subject years later I believe playing with his new baby son as birds chirp. He's so happy here unlike the recent past. The Optimist indeed.

"32.63N 117.14W" is the exact coordinates of Silver Strand Beach in San Diego California where our story takes place. Love the connection between the two albums as the seemingly never ending waves that ended "A Fine Day To Exit" start us off here as we hear our subject breathing very heavily as he gets back into his car and starts it up. Then he starts to find a radio station. It ends with electronic beats and this blends into "Leaving It Behind" a top three track for me. I really like the guitar that joins the beats as male vocals also join in. A fuller sound 1 1/2 minutes in and it's even fuller before 2 1/2 minutes as they rip it up here. Nice. Back to the beats and atmosphere before 3 minutes.

"Endless Ways" is where we hear the wondrous vocals of Lee Douglas. She joins the piano that opens the song then beats and strings are added before it kicks in to a more powerful sound a minute later. His cell phone can be heard ringing(poor wife). "The Optimist" starts with piano as male vocals join in. Lee comes in as well giving us a rare listen to ANATHEMA having male and female vocals working together. Strings too then we get a full sound after 2 minutes. A calm with strings before 3 minutes then it builds to a full instrumental sound as Lee then offers up some passionate vocal melodies. A calm after 5 minutes ends it.

"San Francisco" is maybe where our subject went eventually after not going through with the suicide. This is a fast paced instrumental as we get piano and electronic beats at first and there's more depth of sound before 3 1/2 minutes. A train can be heard to end it. "Springfield" is my favourite song on here. Relaxed guitar to start and it's sparse. Piano too along with atmosphere then drums. Lee comes in singing this line over and over "How did I get here, I don't belong here". Love the Post-Rock guitars that absolutely light up the soundscape. So much emotion here. Whispered male words with sirens in the background ends it.

"Ghosts" is spacey before Lee along with piano and drums take over. Her voice sounds so beautiful here after a minute. Lots of atmosphere too. "Can't Let Go" is a top three for me. Some energy here with busy drumming, guitar and male vocals. The music ends and then you can hear someone walking, opening and closing a door then turning on the radio. "Close Your Eyes" opens with relaxed piano in atmosphere as Lee comes in singing slowly. Some guest trombone before 2 1/2 minutes with a beat as the vocals step aside briefly. "Wild Fires" is something California knows all too well. Piano as male vocals come and go. Electronic beats after 2 minutes then it kicks in heavily before 3 1/2 minutes. It settles down before 5 minutes and waves can be heard as it blends into "Back To The Start" the almost 12 minute closer.

There are minutes of silence here which are important to the story. Acoustic guitar joins the waves then reserved male vocals. A fuller sound before 1 1/2 minutes minus the waves. Orchestral sounds after 4 minutes as the vocals stop. They're back after 5 minutes. The music fades away after 7 minutes as we hear a knock at a door and as it opens a pause before he says "How are you?" After minutes of silence which I believe represent years we get acoustic guitar along with birds chirping and the sound of a baby boy talking with his dad. Our subject is so happy to be with his new son. The optimist.

I'm probably way off here with my thoughts on what the two albums are all about but I have to say the concept adds to my rating here. The music while having many incredible moments needed that extra bump from the lyrics to be a 4 star album which I believe it is. I also know like Drew mentions in his review that months with this could bump it up even higher. Man has this band changed it's stripes over the years.

 The Optimist by ANATHEMA album cover Studio Album, 2017
3.58 | 125 ratings

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The Optimist
Anathema Experimental/Post Metal

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars A collection of wonderfully engaging, melodic songs all melding together quite well.

1. "32.63n 117.14w" (1:18) more like a dramatic intro to a radio theatre play.

2. "Leaving It Behind" (4:27) computer rhythm track of pops and clicks with guitars and vocals for the first two minutes before the drums and full band join in. Driving and insistent and typical of the band, though a bit more hard and heavy than recent songs. Good song. (8/10)

3. "Endless Ways" (5:49) A sensitive piano-based song featuring the incredible vocal talents of Lee Douglas from start to finish, this is just one awesomely beautiful song--one of the best songs I've heard all year. In true Post Rock fashion, it builds and crescendos, yet it never loses its heart-wrenching, romantic spirit--thanks to the stupendous performance and presentation of Douglas's vocal. Plus, I adore its chosen message. "The dream I created." Say no more. (10/10)

4. "The Optimist" (5:37) opens as if a reprise of the previous song, but then one of the Cavanaugh brothers's voices enters to tell you differently. (Lee does pop up in the background at the end of the first and second minutes.) It does take over two minutes until the full band joins in, but that's about my only complaint to this beautiful song. I love it when the band use orchestral support (as in the album Falling Deeper--my favorite album they've ever done) and the fact that the final two minutes is a Post Rock instrumental, buildup, crescendo, and fade. (9/10)

5. "San Francisco" (4:59) again there is a tremendous familiarity to the piano opening of this song--like I've already heard it in a variation on this very same album--but then, as it plays out as an instrumental, we are treated to the buildup coming from--surprise--the computerized rhythms (and, later, synthesizers). It could almost qualify as a house/rave song! Still, a very satisfying, engaging song, start to finish. (9.5/10)

6. "Springfield" (5:49) a true Post Rock song with Lee Douglas's haunting background repetitions of "How did I get here?" and "I don't belong here" the most memorable parts. (8.5/10)

7. "Ghosts" (4:17) another stunning piano-based song featuring Lee Douglas on lead vocals. I like the drum play here very much. (9/10)

8. "Can't Let Go" (5:00) a true rock song--a good one! (8.5/10)

9. "Close Your Eyes" (3:39) a true jazz torch song. Very much like a sensitive, masterful Kate BUSH piano-based song from her last 50 Words for Snow album. Cool! (9/10)

10. "Wildfires" (5:40) could be an ULVER song (whichmakes sense since the Cavanaugh brothers have been working with Garm and crew a lot over the past few years)! Awesome and powerful! Amazing crescendo! (9.5/10)

11. "Back To The Start" (11:41) a great, sensitive 7-minute prog song (' la STEVEN WILSON) followed by four minutes of emptiness and then four minutes of vacuous family stuff that does not belong on the album. Too bad! (9/10)

A minor masterpiece of progressive rock music. I like their sound, love the songs, and, after five months with the album, I'm finally convinced that this one is ready for the elevated status.

 The Optimist by ANATHEMA album cover Studio Album, 2017
3.58 | 125 ratings

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The Optimist
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

2 stars Why, Anathema? Why?

Distant Satellites was by no means a bad album. It had even truly brilliant moments. But its experimental parts were too vague and disoriented. And The Optimist is sadly a follow-up of all this. We can hear a band trying to retrieve the alternative feeling of A Fine Day to Exit without achieving that, offering a monotonous and repetitive collection of songs unworthy of a band with this status.

32.63N 117.14W is just a brief introduction to Leave it Behind, which starts with the typical Anathema guitar, which automatically bring to mind the most alternative records of the band like the aforementioned A Fine Day to Exit or A Natural Disaster, despite its horrible electronic rhythm at the beginning of the song. But the song it's too repetitive to be considered a brilliant track, and the instrumental interlude is just awful.

Endless Ways brings the much appreciated Lee's voice and the album automatically get better. In addition, the orchestral arrangements of the song are beautiful. Sadly this track is also too repetitive for my taste, but better than The Optimist nevertheless, which is a dull and absolutely not inspired song, despite its fine guitar melodies towards the end. Till this point the quality of the album is not good, but acceptable.

But then we find San Francisco... A piano melody which repeats itself during four minutes without any kind of progression or interest, apart from its U2-type guitars. What the hell is that? Are you trying to cheat us, guys? And Springfield is even worse, another swindle with absurd lyrics and repetitive melodies... Again. Because that's the main problem of this album. The melodies and compositions are Ok, but the repetition of the same melodies again and again in almost every song give an impression of vagrancy and lack of compositional work that deeply disappoints me coming from one of my favorite bands.

Luckily, Ghosts is the best track of The Optimist. Very beautiful orchestral arrangements (this album is pretty symphonic) and vocal melodies from Lee, who sings a rather brief text. That's another interesting point of the album... The lyrics are pretty short in words and ideas. I don't really know the goal of this very minimalistic approach in the lyrics, but that's also a disappointment coming from a band with wonders like One Last Goodbye.

Can't Let Go is more lively and more guitar-oriented. Vincent's voice sounds very contained, like in the whole album... And that's also a shame, because his voice was so incredible in the previous albums! Nevertheless, it's a good song. In opposite to Close Your Eyes, another boring and insipid moment with uninspired lyrics. Only the final part with wind instruments which reminds me to Van Der Graaf Generator deserves a mention.

Wildfires is one of the lowest points of the album. Depressing, repetitive and with horrible vocal effects. I really don't know how a track like that could make it into the final record. Even the typical increase of intensity in its final part is foreseeable and lame. But Anathema had mercy of us and they managed to put a decent song at the end of the CD named Back to Start, which contains good verses with a warm interpretation from Vincent and good piano melodies. The chorus is not so good and so is the final part, unnecessarily bombastic and pretentious. This could have been a good ending for a better album... But after the average or directly bad content of The Optimist, Back to Start is just utterly overblown.

Conclusion: The Optimist would be an average release for a novel band. But talking about Anathema, this record is their worst album, including their doom metal ones. A repetitive, uninspired and pretentious collection of songs with a worrying lack of ideas and direction. The attempt to retrieve the alternative rock of A Fine Day to Exit failed, and despite the orchestral arrangements the musicians don't shine like in other records of the band.

I really hope that they make it better in their next album, because after the just decent Distant Satellites and this mediocre The Optimist, I am really not so optimistic about the future of the band.

Best Tracks: Ghosts, Can't Let go, Back to Start.

My rating: **

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.67 | 412 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

3 stars After two rather similar (although fantastic) albums, Anathema tried to evolve their sound... But was it in the right direction?

The album starts brilliantly with the powerful The Lost Song Part 1, which follows the patch of Weather System but with a cleaner production, leaving a bit the familiar wall of guitars from previous releases. And we can also hear how Vincent sings even better than before! The voice of this man has no limits.

The Lost Song Part 2 is one of my favorites here thanks to the very sweet Lee's vocals and precious arrangements. The magic of Anathema is still here and it continues in Dusk despite its cheesy lyrics. This tune starts with the typical fast acoustic guitar and slowly increase its intensity towards and epic ending. This is pretty good, but maybe this Anathema formula sounds a bit old and overused here... Time for a change.

And Ariel is not really a change, but it's breathtakingly beautiful nevertheless. Marvelous vocals, great piano melodies, and a prodigious guitar. This song is pure magic, and one of the highlight of the album and also in Anathema's career. It's like that all that Anathema tried after A Natural Disaster came together in this very song. Just perfect!

Sadly The Lost Song Part 3 brings nothing really new to the other two, despite its powerful bass lines. It tries to recover the most alternative moments of A Fine Day To Exit and A Natural Disaster, but it fails. It's not bad, but it pales in comparison to the four previous tracks. But then comes Anathema! An autobiographic song which supposed a return to the Judgment's (and maybe Alternative 4) sound bit with an orchestral filter. Very intense and with great vocals from Vincent... Again.

And what the hell happened after this moment, guys?

When I first listened You're Not Alone I thought "Ok, it's just another experimental track... No luck this time. Let's hear the next song" And the next song is a very insipid keyboard instrumental track named Firelight. "Ok, the title track is of course better..." And what we found with Distant Satellites is a very ugly electronic rhythm for a very repetitive, not interesting and uninspired song. I just can't believe it! The album was very good till Anathema. And what's all this mess?

But Take Shelter starts good. And I thought "This will be a good Anathema song"... But no! The unnecessary electronic rhythms are back for a song which end in a pretentious and bombastic way, really inappropriate. It brings some melodies from the first songs back, but that's not enough to leave the listener really pleased with this very irregular album.

Conclusion: Distant Satellites is maybe the most irregular Anathema album. It has great songs like The Lost Song (Part 1 and 2) and Ariel, and some of their worst and more shameful moments (You're Not Alone, Distant Satellites) I think it's honorable, even necessary, when a band tries to evolve their sound. But the experiment that Anathema made in some of the songs included in Distant Satellites is just dull and wrong in my opinion.

It's by no means a bad album. It has even unforgettable moments, but there are other I would rather forget.

Best Tracks: The Lost Song Part 1, The Lost Song Part 2, Dusk, Ariel, Anathema.

My rating: ***

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