JUDGEMENT

Anathema's fifth full-length, Judgment, is where things finally started falling into place for the band. Anathema had been honing their dark, atmospheric metal/rock sound since their death-doom beginnings, but it is only on Judgment that they found the right formula for a (near) perfect album. Emotionally-charged, extremely musical, with a strong identity, and very consistent in quality, Judgment is one my favorite albums of all times, and not just within Anathema's discography.

The differences relative to their previous album, Alternative 4, are many. First, the band went through a line-up shake up. Long-time bass player Duncan Patterson left the band. This could have been a fatal blow for the band because Duncan had contributed to a lot of the songwriting on Anathema's previous two albums, Eternity and Alternative 4, and he was at the time one of the creative driving forces of the band. The transition went smoothly, however, with Danny Cavanagh stepping up in the role of main songwriter and Dave Pybus joining in as Duncan's replacement - and doing a very fine job at it. This was not the only line-up change, though. Founding member John Douglas returned on drums after sitting out the recording sessions for Alternative 4, where he was replaced by Shaun Taylor-Steels. Moreover, on Judgment we also hear for the first time the voice of Lee Douglas, John's sister, who from this point onwards will become a regular guest and eventually a full member of the band in later years.

Sound-wise, there are also significant differences between Judgment and Alternative 4. The latter played on the contrast between gentle piano motifs and uncomfortable metallic blasts, making for a claustrophobic and angular listening experience. Judgment is much lusher and smoother. At its core, it is an acoustic album: the metallic riffs are replaced with gentle acoustic guitar strums and arpeggios that, in most songs, constitute the whole backbone of the music. Guitar distortion is used sparingly and mostly for dynamic effect in the songs' crescendos. Vincent's low-register singing also contributes to the mellow atmosphere of the record, and so does the deep, bass-laden sound and production provided by Ventimiglia (Italy) Damage Inc. Studios. The Pink Floyd influences, which on previous releases were layered not-so-subtly on a metal backdrop, here have matured into a more cohesive sound that the band has made their own. There are still a few Gilmourish moments (the guitar solos on "Emotional Winter"; the instrumental "2000 & Gone"), but for most part Anathema show that they have finally fully absorbed the influence of Roger Waters and co., and elaborated it into something new.

The end-result is a very emotional album, dark but hopeful and serene at the same time, transmitting very different vibes compared to the dispassionate, bitter sensations of Alternative 4. Because of this, some consider Alternative 4 the last "metal" album that Anathema have released. They may be right: Judgment veers decidedly towards more alternative rock territories, with some hints of dark/gothic rock. Yet, with the benefit of hindsight, I cannot help but notice that this is the same sound that many bands that are nowadays considered "progressive metal" (for instance, Riverside) will adopt in subsequent years. In this sense, I think Anathema were actually pioneers of our contemporaneous "prog metal" sound.

The album tracklist is nearly flawless. Each song has its own identity, from heart-rending ballads to dark, angrier affairs. The quality of the songwriting is consistently high, making each song a little masterpiece, with melodies that are strong and memorable without being cheap. The first 4 tracks ("Deep", "Pitiless", "Forgotten Hopes", "Destiny Is Dead") form an interconnected mini-suite, each track bleeding into the next one. It's a great way to start the album, which draws the listeners in from the get-go, without leaving them time to breathe. "One Last Goodbye" is a beautiful, poignant ballad dedicated to the Cavanagh bothers' mother who had passed away a few years prior. It is one of the most memorable and popular Anathema's songs, and for good reason: its simple melody is absolutely stunning and Vincent's singing perfectly transmits the deep pain of loss. "Parisienne Moonlight" is a short piano-based ballad where we find the first of many future duets between Lee Douglas and the Cavanagh bothers (Danny, in this case). Then there is "Judgment", the title-track, a darker piece that starts slow before exploding in an almost punkish finale. Drummer John Douglas also contributes to the songwriting with a bunch of grittier tracks with awesomely introspective lyrics, among which "Don't Look Too Far" and "Wings of God" stand out. The only two tracks that I consider skippable in this very fine album are the anonymous "Make It Right (F.F.S.)" and the tentative "Anyone, Anywhere".

But the true beauty of this album lies in the way these individually-magnificent tracks form an even more magnificent whole. The album has a great pace: the seamless alternation between softer and heavier pieces provides enough variation to keep the listener entertained. The cohesive sound and the serene but dark atmosphere tie the songs together in an emotional arc that draws the listener in and keeps her locked in throughout its 57 minutes. At the end of the day, what matters is not whether this is a metal album or not, but the quality of the music: and on that front Judgment is a near perfect album and certainly one of the highlights in Anathema's outstanding discography.

[Originally posted on www.metal-archives.com]