Anathema Discography: #11 We're Here Because We're Here (2010)

"I have found my way to fly free from constraints of time
I have soared through the sky seen life far below in mind"

Anathema finally released its 8th full-length album in 2010. We're Here Because We're Here is the start of a new phase: the sound is characterized by orchestral arrangements, a heavy dose of piano, Lee Douglas' greater vocal presence, Danny's E-bow leads, occasional rhythmic experimentation, as well as post-rockish song structures that start out soft and build up to a climax. The album has a more optimistic tone than any of Anathema's previous releases, which stems from the positive changes in the band members' lives, especially Danny Cavanagh's.

"Thin Air" is a great, upbeat opener that sets the tone for Anathema's modern style. "I love you" may be an overused phrase in popular music, but in this song it sounds perfectly honest. The lyrics can also be interpreted as the band's statement on its rebirth: "We've come too far to turn back / This is where we stand and face it / This is who we are."

"Summernight Horizon" is a louder and more intense song, but has an uplifting chorus, which separates it from the heavier tracks on previous albums. The mix of emotions that Anathema has mastered over the years continues in "Dreaming Light", which manages to sound wistful yet optimistic at the same time. Some people may find this tune too cheesy, but in my opinion it never crosses that line. "Everything" is a song about finding peace of mind and coming to terms with yourself - not one of the highlights of the album, but I love the pulsating 9/8 beat.

"Angels Walk Among Us" - which features Ville Valo (HIM) on backing vocals - is honestly one of the most beautiful songs I've ever heard: Danny's wailing Ebow, Vincent and Lee's emotional vocals and the powerful climax are simply delightful. After the mostly spoken track "Presence", we get to the high point, which is "A Simple Mistake". This song has such an incredible build-up that few Anathema songs have managed to match it, before or after this album.

"Get off, Get Out" is the weakest song, but the mild Porcupine Tree vibe and the guitar arpeggios are enjoyable. "Universal" is more progressive: it starts out as a slow, vocal-centered piece, but the second half is instrumental. There's a great solo by Danny and some sweet orchestrations in this song. "Hindsight" shifts between major and minor keys and brings the album to a close successfully.

We're Here Because We're Here is by far the most cohesive and complete Anathema album since Judgement (1999). Years of hard work paid off, and the resulting record is lively and diverse. It's not an absolute 10 like Alternative 4 (1998) and Judgement, but Anathema found its own identity and signature sound on this euphoric rebirth of an album, and it set the standards for the subsequent records.

Rating: 4½/5

Anathema Discography: #10 Hindsight (2008)

"A timeless word, the meanings changed
But I'm still burning in your flames
Incessant, lustral masquerade
Unengaged, dim lit love didn't taste the same"

After A Natural Disaster (2003), Anathema found itself without a record deal when Music for Nations was shut down. The band couldn't seem to find a new label or management, and several obstacles slowed them down. However, Anathema continued to play live and write new music, and amidst all that they managed to fulfil their long-time dream of releasing an acoustic album.

Hindsight consists of (semi)acoustic versions of songs from the 1996-2003 period, along with a previously unreleased song, "Unchained (Tales of the Unexpected)". Besides acoustic band instruments, the album includes cello by guest musician David Wesling and mandolin by ex-member Duncan Patterson. Danny Cavanagh also plays leads with an Ebow, which makes his wailing guitar sound even more distinct.

Opening track "Fragile Dreams" starts out driven by piano and cello, but reaches a powerful climax at the end when the full band joins in. The song manages to sound intense even at a slower tempo and with minimalistic instrumentation. "One Last Goodbye" features a highly emotional vocal performance by Vincent Cavanagh, who sounds like he's on the verge of tears. "Are You There?" benefits the most from the acoustic treatment: the folky fingerpicking is lovely and makes the song stick out, unlike the original, fairly generic arrangement. Another highlight is "Angelica", which sounded too heavy and unrefined on Eternity (1996), but works brilliantly as an acoustic song.

Unfortunately the rest of the tracks don't measure up, as most of them had already been understated and mellow in their original forms, and the arrangements haven't been changed that much. "Inner Silence" loses its emotional impact due to the repetitive ending, and "Unchained" is a rather underwhelming song, although I get that the band wanted to save the best of the new material for its next full-length album. Even though Hindsight isn't an essential release by any means, it's not a complete waste of money, as the versions of "Are You There?" and "Angelica" are so good that I never listen to the originals anymore. Hindsight also works as the closure of a chapter in the band's career, before they moved on to the sound they're known for these days.

Rating: 3/5

Anathema Discography: #9 A Natural Disaster (2003)

"Layers of dust and yesterdays
Shadows fading in the haze of what I couldn't say
And though I said my hands were tied
Times have changed and now I find I'm free for the first time"

Danny Cavanagh went through a rough period in his life in 2002 and even left Anathema for a brief time. This is reflected in the dark and minimalistic approach of A Natural Disaster, which includes plenty of experimentation.

The electronically-tinged opener "Harmonium" makes it clear that this album is a different beast than any previous Anathema release. The prominent guitars and the agonized scream at the end of the song, however, make it very heavy in a way. "Balance" is a pleasantly melodic track, bringing back the Radiohead influence of the previous album. However, the Vocoder-driven and repetitive sound of "Closer" is a far cry from the accessible rock of A Fine Day to Exit (2001). This song is at its best when played live: the hypnotic, even danceable, rhythm makes you want to jump up and down!

"Are You There?" is a decent song, but I feel the acoustic arrangement on Hindsight is a better version of it. "Childhood Dream" is a sweet little interlude, which is ironically followed by the most aggressive song on the album, "Pulled Under at 2000 Metres a Second". The strong bassline and Vincent Cavanagh's strong vocal delivery make this a memorable song, even though it's radically different from the rest of the album, and a few band members have gone on record saying they don't like it.

The Portishead-influenced title-track highlights Lee Douglas' beautiful voice, and its trip hop vibe is unique for Anathema, making it a classic. "Flying" is another hit: very simplistic, yet beautiful, and the reversed guitars add interesting soundscapes. Unfortunately the last two songs are clearly the weakest: "Electricity" is a forgettable semi-acoustic tune, whereas the 10-minute instrumental "Violence" is way too drawn-out.

I have mixed feelings on A Natural Disaster: most of the songs are good, but the chaotic nature of the album prevents it from being one of the band's best. Anathema has always made diverse albums, but I feel AND lacks the cohesion of the other releases. Although none of the songs can compete with the absolute crown jewels of the Anathema discography, there's plenty of good material to go back to, such as the title-track, "Flying" and the combo of "Balance" and "Closer".

Rating: 3½/5

Anathema Discography: #8 A Fine Day to Exit (2001)

"Here and now
We are gone in a heartbeat
A dream in the passage your time

Chances are failing
This world isn't waiting
The moment is passing you by"

Anathema took a step in the direction of alternative rock, close to the territory of Radiohead, with 2001's A Fine Day to Exit. The album is guitar-driven like Judgement (1999), but the sound is more modern and less atmospheric. The songs are more mainstream, but not in a negative way - in fact, this is arguably Anathema's most accessible album.

The Beatles-influenced "Pressure" feels like a weird opening track (we'll get to this later) with its minimalistic chord progression, but it has a catchy chorus, so it's a shame it never became a hit, despite the record label's attempts. "Release" is a great track with cool synth bass, rocking guitars, and brilliant vocal harmonies. "Looking Outside Inside" is good as well, even though the beautiful first half and the loud ending feel kind of disconnected from each other.

The synth sounds give "Underworld" a cool vibe, and it's another song that should've been a rock radio hit. "Barriers" is a well-needed respite, but I've never thought Danny Cavanagh's voice was on the same level as his brother Vincent's, so his debut as a lead singer doesn't convince me. If the songs until now have been atypically rocking and modern for Anathema, "Panic" takes this change to its extreme: it's a punky up-tempo track with crazy lyrics, but surprisingly enough the song works and is actually one of the album's highlights.

A Fine Day to Exit ends with what are arguably the two most traditional Anathema songs on the album. The title-track is the peak for me and one of my all-time favorite Anathema tunes - it's got a little bit of the dark Alternative 4 (1998) vibe that I love. "Temporary Peace" is a great closer that sounds melancholy yet gives a little bit of hope: "with you I start to feel a sort of temporary peace." Drummer John Douglas' ramblings about dogs, cats and chickens and the hidden track "In the Dog's House" at the end of the album show that Anathema has a sense of humor and are a nice comic relief.

A reissue with a previously unreleased intro and a rearranged tracklist came out earlier this year. I own this version, as I bought the Fine Days box set this summer. While I think the one-two punch of the intro and "Release" is the best way to open the album, I don't like the way some of the songs that used to be linked with direct segues on the original release have been divided. However, nobody is forced to buy the new version, so the fact that the band finally found peace of mind by using their artistic freedom is what matters the most.

A Fine Day to Exit is a fine album that shows a different side of Anathema. This may also be why the album is slightly divisive among the fans, as not everyone is pleased with its modern rock sound. I have to admit I prefer the band's atmospheric side, but thanks to the fairly solid songwriting and classics like the title cut, "Release" and "Panic", AFDTE has earned a place in my big 4 of Anathema albums.

Rating: 4/5

 

Anathema Discography: #7 Judgement (1999)

"All the hate that feeds your needs
All the sickness you conceive
All the horror you create
Will bring you to your knees"

Anathema's 1999 effort Judgement is more guitar-driven and rocking than the keyboard-heavy and ambient Alternative 4 (1998). The main reason for this was the loss of main songwriter Duncan Patterson, but the songs were also born as group efforts, unlike on most Anathema albums, which led to a more band-oriented sound.

The first four songs form a suite together. "Deep" is a powerful opener that displays the melodic and melancholy, yet rocking style of the album. "Pitiless" is darker and more aggressive, while "Forgotten Hopes" is a semi-acoustic ballad, but despite the differences the songs share a common guitar theme, which is heard the bridge of the former and the verses in the latter. A short instrumental, "Destiny Is Dead" closes the quadrilogy.

Returning drummer John Douglas became a prolific writer on Judgement: "Make It Right (FFS)" is a pleasantly atmospheric tune that brings to mind Awake-era Dream Theater because of its Kevin Moore-like keyboard sounds. "Don't Look Too Far" is a psychedelic piece reminiscent of early/mid-era Porcupine Tree that has some heavy wah-wah guitars in the chorus. The classic rock-sounding "Wings of God", on the other hand, ends with a brilliant instrumental jam.

The star of the album, however, is Danny Cavanagh, whose leads embellish the album. The heart-wrenching eulogy for his and Vincent's mother, "One Last Goodbye", culminates in one of the most emotional guitar solos I've ever heard. Another favorite of mine is "Emotional Winter", which sees him channeling his inner Gilmour in the intro. There's also a lot of feedback on various songs, creating a vibe of disorder.

"Parisienne Moonlight" is a short but sweet piano ballad that features future band member Lee Douglas on vocals with Danny. The title-track is the heaviest on the album, transforming into a furious rocker after the slow first half. According to Danny, "Anyone, Anywhere" is a dishonest song that had no meaning at all to its writer, bassist Dave Pybus. While the lyrics are rather childish compared to the true feelings of pain and sadness in the other songs, it's a beautiful song musically. "2000 & Gone" is an instrumental outro that ends the album on a peaceful note.

Judgement works as the perfect bridge between Anathema's metal beginnings and their later sound. It's also like a companion work to Alternative 4: obviously the songwriting is different, but they were released so close to each other that they feel like two halves of a double album and complement each other. Alternative 4 sounds cold and edgy, whereas Judgement has a warm and full production. If A4 is the soundtrack for hitting the rock bottom, then Judgement represents the first difficult step you have to take to get your life back on track.

The cover art and the band photo in the centerfold of the booklet probably have a lot to do with this, but Judgement is a summer album to me - if you close your eyes while listening, you can imagine yourself by a lake at sunset. The atmosphere of the album also makes it a pleasure to listen to: it's sad, but you can hear that there was a good vibe going on during the making process. Judgement may not be as tight as its precedessor, but I wouldn't change a thing about it regardless.

Rating: 5/5

 

The future of this blog

Hi,

there have been few updates in the past few weeks, because I've been busy traveling and doing other stuff. Unfortunately it looks like there won't be a lot of reviews coming up in the future, either...

I just wrote a report of Radio City South Park "festival" (I use quotation marks because the only bands that played were Dream Theater and Anathema) for Musicalypse, and I'm going to contribute more concert and (new) album reviews to the site in the future, so now I have another channel for my writing. I've also found out that it's hard to write reviews on a pretty much daily basis and keep the quality up, so I'd prefer to focus my efforts and energy onto one site at a time. One of my personal aims for this blog was to get to write for a proper music site anyway, so that goal has been reached now.

On top of that, I just went back to work and will return to school at the end of the month, so my spare time is limited. I'd like to use it to try and get my own songs together, read some books and simply relax, so sadly this means that something has got to give.

However, since I'm doing an Anathema discography run-through on a music forum simultaneously with this blog, I will finish that - in fact, a review of Judgement is in the works right now. Who knows, I may also write other reviews for the blog later if I feel like it... But even if this blog comes to the end of its road, you can always keep an eye on my Musicalypse reviews and updates regarding my own musical endeavors or the hip hop project I contributed to recently.

Thanks to everyone who has read this blog so far! It hasn't been around for long, but I feel I've honed my writing in the past two months and the little feedback I've received has been positive and encouraging. The Anathema reviews will keep coming weekly at least until mid-September, so there's still something to look forward to. Rock on!

-Ville

Anathema Discography: #6 Alternative 4 (1998)

"I'm coming to an end
I've realized what I could have been
I can't sleep so I take a breath and hide behind my bravest mask
I admit I've lost control"

Anathema's fourth full-length sprang up during the band's darkest period: drummer John Douglas had been replaced Shaun Steels due to his drug problems, and there were several disagreements between the band members, especially principal songwriters Duncan Patterson and Danny Cavanagh, who were also going through private problems of their own. Patterson would leave the band soon after the recording sessions to pursue a different musical path.

This tension is clearly audible in the depressive and minimalistic sound of Alternative 4. While there's violin on two of the most popular classics on the album ("Fragile Dreams" and "Lost Control") and some drum loops on "Empty", the album is less layered than its precedessor Eternity (1996), and the guitars are no longer tuned down. There's also less lead guitar work going on, probably because Danny Cavanagh only contributed three songs to the album while Patterson did most of the songwriting work.

My personal favorite song in the whole Anathema catalog, "Lost Control", embodies the album perfectly: it's got piano, subdued yet emotional vocals, both distorted and acoustic guitars, and lyrics about depression: "I've let your tiny minds magnify my agony / and it's left me with a chemical dependency for sanity". Danny Cavanagh's songs "Fragile Dreams", "Regret" and "Inner Silence", the latter of which deals with the death of the Cavanagh brothers' mother, are very melancholy in tone as well, but there's also plenty of anger on the album, especially in "Empty", which ironically is a danceable tune with a recurring guitar/keyboard hook.

There's also some experimenting going on in the apocalyptic title-track and Vincent Cavanagh's sole contribution, "Re-Connect", which is very progressive in its feel and goes from major key clean guitars straight to a ferocious scream. The Hammond-driven "Feel", on the other hand, gives off a classic rock vibe.

The reissue includes four cover songs as bonus tracks. The Pink Floyd covers are rather redundant, as they're almost identical to the original versions, but the rendition of Bad Religion's punk song "Better Off Dead" is one of the best cover songs I've ever heard. Guest vocalist Michelle Richfield makes the song's "f*ck you" attitude more sophisticated, and the piano-driven arrangement makes the melodies sound deceivingly beautiful.

Alternative 4 is a brutally honest album, both musically and lyrically. There's not a single filler track in its 45-minute running time and the album has a strong atmosphere without getting monotonous at any point, thanks to the different styles of the band's songwriters. Anathema prove that there are probably even more shades of gray than 50! While I don't agree with the Cavanagh brothers' view that it's the beginning of the "real" Anathema, I do consider Alternative 4 the band's magnum opus and the first of their two bullseyes.

Rating: 5/5