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A FINE DAY TO EXIT
Liverpool based outfit Anathema have come a long way since they started out in the early nineties as a gothic / doom metal outfit in the style of Paradise Lost, as anyone who heard their last album, 99's excellent,
if underrated, 'Judgement' will attest to. The Pink Floyd influences apparent on that album are again present on 'A Fine Day To Exit' - the band's sixth full length effort - from the inner sleeve artwork,
which is very Wall-esque, to the choice of producer Nick Griffiths, who has worked extensively with both The Floyd and Roger Waters. Other obvious influences are Radiohead and Porcupine Tree, although it
should be said that the band have continued to define their own sound and identity with each album, and are also heavier (at times) than the bands named above.
The core of the band are the Cavanagh brothers Vincent (vocals and guitars) and Danny (guitars and keyboards), along with drummer John Douglas.
All three are talented songwriters in their own right, and pretty much share the writing duties between them, which adds to the depth and variety on show. Dave Pybus plays bass on the record but has since left the band.
Opener 'Pressure' is lead by the sort of treated piano sound favoured by Radiohead, and is the track on which their influence is clearest. The song has a (presumably intentional) claustrophobic feel, perfectly
illustrating the lyrics which, as on the whole of the album, deal with themes of alienation and despair - not happy reading!
Nice bursts of solo guitar escape from the dense mix to add some light and shade. As with most of the songs here the structure is a simple one, with the variety coming more from different instrumentation and atmospherics than from tricky time changes.
In contrast, 'Release' has a fresher, more open feel about it.
Initially acoustic led, the song is a lesson in how to build up atmosphere: it starts with the introduction of some ominous electronic beats, before the, er, release is provided by a fantastic ringing guitar riff - one of those that sticks in your head for days. Again some brilliant solo guitar work from Danny Cavanagh closes the track, and Vincent's fine vocals are at their emotional and fragile best here, conveying real feeling throughout.
'Looking Inside Out' again starts with gentle acoustic guitar, playing over keyboard sounds very reminiscent of Marillion circa 'Afraid Of Sunlight'. A thumping bass line keeps up the energy of the track
initially, with Vincent Cavanagh's vocals fairly subdued and melancholic before another great riff cuts in, this time darker and reminiscent of something a band like Soundgarden might have come up with.
Over this, Vincent switches to rant mode, sounding eerily like Roger Waters at his most caustic. Gradually and skillfully the band pull the track back from the abyss, before arriving back where they started.
Discordant guitars kick off 'Leave No Trace' before the acoustic takes over, with Floydian keyboards again fleshing out the sound. Vincent's vocals are at their best here, soaring over the powerful chorus.
It's no surprise to find that he wrote this track as it's a good showcase for his vocal abilities, whilst the lyrics are also particularly thoughtful and well observed.
'Underworld' is up tempo rhythm-wise, although the down-tuned, edgy guitars create an unsettling feel.
As the song builds to a climax, Vincent intones "This Feeling Is Over Me" repeatedly. He certainly sounds overcome, his vocals perfectly complementing the dark nature of the music here.
'Barriers' has an almost chill-out vibe and is a nice contrast. Danny takes lead vocals on this track and is complemented by the female vocals of Lee Douglas.
The two singers work well together, with substantial use of echo on both their voices giving the song a somewhat haunting, ethereal feel. The darker chorus, set against some spiraling guitar, gives the track an extra dimension.
'Panic' features stream-of-consciousness vocals from Vincent, and musically it is the heaviest and paciest number on the album, something that wouldn't have been out of place on an early 90's US melodic hard core
album.
The title track sums up all that is great about both Anathema and this album. Again built from gentle acoustic playing and shimmering Floydian synths, the production here is particularly good, and the buildup
to the emotional and powerful climax is wonderful. There is real emotional power in Vincent's voice which is effectively moved from the background to the foreground of the mix and vice versa as the mood of the
song dictates.
The crashing of waves on a shore heralds final track 'Temporary Peace', another fine song with a return to the chill-out atmosphere of 'Barriers'.
There is less overt power in terms of heavy riffs, but the song still packs an emotional punch and is a fine way to end the album (although there are some weird sound and vocal effects tacked on to the end - the almost obligatory 'hidden track').
This really is an excellent effort from Anathema and I'd have to say its one of my favourite albums of the year.
For those unsure of whether to get this album due to their heavier past, disregard any preconceptions you may have - this album will appeal to all fans of powerful, melodic and emotional rock. It takes a few listens to fully appreciate, but before you know it you'll be hooked. Take my advice and buy it!
Tom 28th November, 2001
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