You can read the full story behind Anathema’s past, their present and their future in the latest issue of Prog Magazine – on sale now. The result is a kind of symphonic terrace anthem, one that crackles with verve and, yes, optimism, and suggests that whatever they do next will be worth waiting for What starts as a hushed, low-key ballad suddenly changes gear and shifts into entirely new territory.
The final – and finest – song on their latest album, The Optimist, might wrap up the story of the central character, but it opens up yet another possible future for Anathema. In another universe, it could easily have led them in a completely different direction for the next album – instead they incorporated the electronics in a much more subtle way. A glitchy introduction soon erupts into a full blown electronic prog anthem, complete with thumping backbeat and crashing piano chords – put it down to Vinnie’s love of late 80s and early 90s dance music. Distant Satellites (Distant Satellites, 2014)Ī very different kind of progression came with the title track of the band’s 2014 album. This is a bit of a cheat, as it’s actually two songs – Pt 1 starts off with a picked acoustic guitar before building up a head of steam, while the lushly orchestrated Pt 2 works as a fantastic showcase for Lee Douglas, whose crystal clear voice was by now an integral part of the Anathema sound. With 2012’s Weather Systems, Anathema staked a claim as one of the most visionary British bands of the decade. Untouchable Pts 1 & 2 (Weather Systems, 2012) Perhaps it was the presence of producer Steven Wilson, but it suddenly felt like the game had changed – something that was never more evident than on Universal, a symphonic prog power ballad that they could only have dreamed about making a decade before. Universal (We’re Here Because We’re Here, 2010)Ī seven-year break between studio albums did the band no favours, but when they returned with 2010’s We’re Here Because We’re Here, it was with renewed vigour. The hazy, balladic Flying is Floydian in its emotional pull, building towards an understated but impactful Danny Cavanagh solo.
Rather than simply copy Gilmour and co, they took that band’s ebb and flow and spun their own version from it. With 2003’s A Natural Disaster, the band pulled back from their Radiohead fixation and opted to scratch their Pink Floyd itch instead.
Release (A Fine Day To Exit, 2001)īy the turn of the millennium, Anathema had decided they didn’t want to be a heavy metal band any more. Anathema had dealt in emotion before this point, but this was something else. 1999’s Judgement features his best performance as a singer, on One Last Goodbye, a song written in tribute to the Cavanagh’s late mother. Artwork : Tim Spear, Bass: Duncan Patterson, Cover : Duncan Patterson, Drums: Shaun Taylor-Steels, Engineer : Simon Dawson, Guitar: Danny Cavanagh, Mixed By : Doug Cook, Photography By : Lili Wilde, Piano, Keyboards: Danny Cavanagh, Piano, Keyboards: Duncan Patterson, Producer, Mixed By: Kit Woolven, Remastered By : Noel Summerville, Violin : George Ricci, Voice, Guitar: Vincent Cavanagh, Lyrics By, Music By: Duncan Patterson, Lyrics By, Music By: Danny Cavanagh, Lyrics By, Music By: Duncan Patterson, Programmed By : Andy Duncan, Lyrics By, Music By: Duncan Patterson, Lyrics By, Music By: Vincent Cavanagh, Lyrics By, Music By: Danny Cavanagh, Lyrics By, Music By: Duncan Patterson, Lyrics By, Music By: Danny Cavanagh, Lyrics By, Music By: Duncan Patterson, Lyrics By, Music By: Duncan Patterson, Labelcode PCVL973.2 (CDVILED73, cdviled73), Phonographic Copyright (p) Peaceville Records, Copyright (c) Peaceville Records, Published By Vile Music (2), Published By Pink Floyd Music Publishers Ltd.Since his tentative vocal debut on 1995’s The Silent Enigma, Vinnie Cavanagh had come on in leaps and bounds as a singer. Categories: Album Reviews Author by Sam Radojcin Posted on NovemJBands: Alternative 4, Anathema, Duncan Patterson Tags: Progressive rock Get The Newsletter Just enter your email below.