So uplifting as well. You know I listen to these tracks and think this is an easy 4 stars but then a lot of the newer tunes done unplugged just don't do much for me. Tough not giving this 4 stars but I need electricity! Regardless this is a moving album with a nice track selection. In fact, we have a hyperemotional doom-death with an excellent vocal pressure and tragedy and more or less distinct structures of compositions, in which the sprouting roots of the brand Anathema are already visible.
Personally, among other songs, I single out the opening Restless Oblivion, almost emo-doom Shroud of Frost with a stunning second half and a very depressing spoken word, a little melancholic and psychedelic Alone and, of course, the legendary A Dying Wish.
Yes, perhaps, it is The Silent Enigma that is more worthy of being called a classic of death-doom or doom-death, as you like. In addition, from the classical period of discography, this is the best that Anathema could offer at that time.
And to hell with the concept itself, with the lyrical component, although, of course, there are hardly more lines here than in the conceptual predecessor. Let's turn to the musical component. What have the eternal prophets presented to us on a saucer, who are fit to create their own religion and anathematize every parishioner for good, though known only to the group, purposes?
And then out of my mouth comes a desperate and hopeless: "Eh, how come? First, the "electronic" ending of the last album did not receive proper development. Although I admit initially that this is all subjective by and large, but still Leaving It Behind and instrumental San Francisco look much weaker than Distant Satellites and Take Shelter. At the point of the route marked by the city in the style of disco, the band so generally sounded almost like the eternally despised Coldplay, with whom the band was sometimes compared in the context of recent albums, although even a hedgehog can understand that Anathema wrote songs many times better.
Here, the group took a serious step back. As for the classic songs, the group again, for the fourth time in a row, writes the same thing, trying to cross out the logical ending in the form of the title song for the group from the same Distant Satellites, with the difference that the melodies have become weaker and more nondescript.
I don't know what the situation is, whether Danny is in a state of mind, which is about the time of recording the album, caught another mental problems, or in the long course of recording the album itself. A sense of deja vu is present even among the songs themselves, when Endless Ways and The Optimist begin almost identically, despite the fact that they follow each other. It's funny, but at times the Optimist still does not disappoint, but pleasantly surprises.
Post-rock song Springfield is really beautiful with its appropriate cold beauty perhaps the best song on the album , Ghosts and Wildfires adequately accumulate a mixture of the classic sound of Anathema and subtle inclusions of electronics, and Close Your Eyes along with You're Not Alone from the last album can rightfully be considered as the most unusual song of the group.
Beautiful and elegant dark jazz, which would like more timekeeping. At the same time, I have no questions about the technical side of the execution. Everything is as always good and verified. The only thing that bothers me and the band lives, unfortunately, confirm this is that Vinnie has started to give up on his vocals. Lee Douglas, on the other hand, remains at her old, very high level, and this time there's a hell of a lot of her on the album itself. Yes, I am certainly happy to hear her wonderful, feminine voice, but in comparison with past albums, she was somehow indecently given a lot of solo numbers.
An attempt to equalize the rights of vocalists in order to bend under the current social trends? In fact, it's a consequence, as I said, of Vinnie's declining vocal range.
If Anathema were not in double demand as post-progressive rock prophets and undisputed masters of their craft, it would be possible to give up on this under-sequel of A Fine Day to Exit, because it really does not deserve the level of such a beautiful and diverse album, just as it does not deserve the level of its predecessors, which are among the best albums of Anathema.
Alas, the reality is that with this album, my favorite English people from Merseyside have definitely failed. As if not to be Optimistic about the controversial end of the history of the most beautiful band, as it was with Porcupine Tree or Isis, and everything is going to this, given that the band went on indefinite leave, and Danny announced a new solo album and a project called Weather Systems, declared as "a continuation of the legacy of the previous group".
It would seem that the time has come to explore new ways to communicate your philosophy and experiment with them, but no matter! The band seemed to intuitively feel that it still has something to say since the days of Weather Systems, and the first 2 songs already evoke a direct association with the Untouchable dilogy. Yes, structurally, the first 2 parts of The Lost Song really repeat the masterpiece dilogy. Does this mean that it is necessary to brand Anathema for self-plagiarism?
Not a damn thing! I don't know how they do it, but The Lost Song has something different from the Untouchable, plus, I think it was on this album that the duo Vinnie and Lee finally found the optimal balance for the group in terms of vocal parts. Only one thing is unclear: why do we need a frankly useless and unnecessary third part? Well, to hell with it, actually. In general, it is still a big mystery to me how this band still does not have the same popularity as its colleagues from Muse and Radiohead.
The desire of the band itself not to be so mainstream? To be honest, for me, hits like Ariel, which is dedicated to Danny's newborn daughter, or the tense Dusk, would be just monumental rock hits of the s, in an age when the aforementioned bands are now releasing outright hack work, blood from the nose is needed by bands like Anathema.
And the title track for the band was just a wonderful epitaph, in which the guys finally expressed everything they wanted to say in these 11 years since the release of A Natural Disaster, and crowned it all with a magnificent and sensual solo. After such a catharsis already in the middle of the album, the band begins to think about how to finally explore these attractive outer spaces with a mixture of "cold" and technological, but such attractive electronics.
And if the very bold You're Not Alone the most unusual song of the new Anathema demonstrates rather a chaotic flight on a rocket and going into space, then the title track for the album already demonstrates these cosmic deposits in full. As the name might suggest, "Hindsight" sees Anathema looking back at some of their earlier material. This is not though a simple compilation, but an album of re-interpretations of songs that originally appeared on albums such as "Alternative 4", ""A fine day to exit" and "A natural disaster".
Sometimes misleadingly referred to as an unplugged album, "Hindsight" offers pared back versions of songs that were generally already soft and melodious.
The fine cello playing of classically trained musician Dave Wesling is added and the emphasis is certainly placed on acoustic guitars and piano. The soft side of Radiohead remains a decent reference point, especially on songs such as the beautifully melancholic "Leave no trace" and the delicate "One last goodbye" from "Judgement".
Many of the songs do not sound that different to the originals, among the more notable variations being the absence of the voice of Anna Livingstone to be replaced by equally effective male vocal harmonic accompaniment. The oldest song on the album is "Angelica" from "Eternity", where drifting lead guitar and a heavier back-beat lead to the song having a less stripped but nonetheless highly appealing feel. The title track from "A natural disaster" is surprisingly faithful to the original, right down to the female lead vocal by Lee Douglas.
The version here thankfully loses its extended section of ambient noises, thus focusing on the melodic opening segment of the original track. There is one new song here, the closing "Unchained tales of the unexpected ". The acoustic sounds remain firmly in charge, but this feels more like a song from the band's earliest days. For me this is an album of great beauty, replete with relaxing but far from ambient sounds. I would have liked to have seen more of the early material, especially from the growling days, being revisited as the differences would then have been far more noticeable.
As it stands, the versions of the songs here constitute worthy Alternatives , rather than improvements. The existence of acoustic Hindsight in the Anathema portfolio seems to me rather a delay in the release of We're Here Because We're Here, because by the time this compilation of acoustic reimaginings of the Liverpool formation's hits came out, there have been no full-lengths for 5 years since A Natu I think it is pretty obvious that Anathema is one of my favorite bands in my life.
When I knew Anathema had released an album where they would remake some of their songs and make them acoustic, I was definitely eager to hear it. Every time I listen to Anathema I am surprised about the incredible Not a studio album as such, this album is a collection of some of Anathema's finest songs stripped down to their bare esseantials with mainly just a paino, accoustic guitars with the odd bit of electric lead guitar thrown in to make it all the more atmospheric , vocals and the odd bit of added d Anathema's Hindsight could be mislabeled as a quick "unplugged" album to suffice for the fact that their upcoming studio album is now over 4 years "in the works.
It takes the best of the band's expansive catalog, and rearranges it to fit t For me Hindsight is the greatest compilation of Anathema. Includes the most emotional songs of Anathema in acoustic version and a new song what the band composed only for this boxset called Unchained.
As Vincent says, they wanted only release an album with acoustic songs. There are also some e With the release of this semi-acoustic compilation, Anathema proves once again that, beyond the technical criteria, music remains a vector for emotions and a universal language.
Enter New Password. Re-Enter New Password. Enter New Email ID. Let us know you better Full Name. Submit Later. Profile Successfully Updated. This Email ID is already registered. Submit or click Cancel to register with another email ID. Submit Cancel. Please enter Valid details Ok got it! Enter Email ID Submit. Edit Email Id Contact Us. Create New Save OR. Select From Existing Playlist. Listen to Taang Uthake - Housefull 3 1 day ago. Labheshs iPhone 6s Active Save. Are you sure want to delete the Playlist Delete Cancel.
Recent Searches. Songs View all. Albums View all. Playlist View all. Radio View all. Videos View all. Movies View all. Artists View all. Video Playlists View all. TV Shows View all. Episodes View all. TV Episodes View all. Are you sure, you want to continue yes no. No Yes.
0コメント