Interviews and Album Reviews for Distant Satellites

thanks Flying

 

I believe that Anathema are among the most interesting bands around today , a band that was able to change radically over and over again , going from the initial to the ethereal doom metal work after twenty years , and then moved onto this Distant Satellites in a second part very electronic- oriented, even if it is not anything radically new for the band.
The hype for this work , which was to carry forward the banner of high public and critical acclaim achieved with Weather Systems in 2012, was the star . Now I can finally say that I was disappointed , not in a consistent manner , at least . I will be brief in reviewing this album , since it would make no sense to dwell on in-depth description of each piece : this album is simply listened to directly experience the emotions that is able to release and on which one can not remain silent.
The album opens like the previous one , ie with a track divided into two parts , which will be followed by a third to half of the album . The first impression of The Lost Song Pt.1
is that it is all a bit ' rushed : the voice part almost immediately , the structure evolves in a somewhat ' more unpredictable than usual (especially from the point of view of harmonic , but also the rhythm in 5/8 plays its part ) and the voices are interwoven according to a climax that only a finite piece is sensible. For arrangements, the song reminds Untouchable Pt.1 enough , especially if we compare the second piece of the trilogy , The Lost Song Pt.2 , that as the amount of the previous album evolves in a mostly acoustic and dominated by sweet voice of Lee Douglas. What emerges from these first two tracks is roughly what remains for the duration of the album : a vocal performance amazing , maybe steal a little ' too much time to instrumentalists , who in turn do not excuse you from performing in occasional solos of great thickness (Danny Cavanagh , which in some subsequent pieces will be devastating ), nor to experience unusual rhythms or at least prolong a battery work quality unprecedented in the history of the band, perhaps because even the introduction of keyboardist / drummer Daniel Cardoso in support to the historic drummer John Douglas. The crescendo of the songs are always present, but perhaps made a little ' less obvious choices and harmonic arrangement of the most unpredictable , because the can only be beneficial to a band for ten years, using roughly the same structure for most of the songs.
With Dusk ( Dark Is Descending ) the tones are darker , even related in some way to the past of the band ( apparently here to listen to an excerpt from Eternity , in some ways ) . Not surprisingly, many of the tracks are present here - even if this is not the case , in particular - have been recovered from ancient demo, reviewed and adapted to the actual sound of the band, with the results that we shall see, are incredible . The song which was mentioned evolves with a great voice work , up to a breakdown which reintroduces the usual melodies to the band during this period , which evolve up the excellent final . With Ariel , touching a peak : the wonderful vocal melodies Lee Douglas, accompanied by a fine plan , the situation is evolving with orchestral arrangements and with an entrance of Vincent Cavanagh which leads to high levels counterpoint between the two vocalists . Finally, to top it all , you put Danny Cavanagh to conclude the song so pretty , even entering his voice .
Once in Pt.3 The Last Song , the first single from the album, we can attend one of the most exciting progression of the band's career , with the vocal harmonies very poignant and touching so much as a final energy . Also notable is the re-entry , after a long time of absence, electric piano , which is the master (at least until the guitars do not dominate ) . Excellent work from the bottom of Jamie Cavanagh 's up to then Anathema . A song that bears the name of the band that composes it must be something memorable. In the case of Anathema , the song is really autobiographical and perfectly balanced between a first part focused on the voice of Vincent ( the only regret, for this piece, is the total absence of Lee) , who performs in a vocal performance without earlier , of great emotional as well as technical , instrumental and a second part , containing one of the guitar solos more intense in recent years, and I speak not only of the British band . Ergo , as it should be , Anathema will become a classic, a workhorse that will live to extort some tear to even the most accustomed to.
You enter an experimental part of the album : first appear 're Not Alone , a piece very old in terms of the first draft, which ranks as one of the heaviest songs the band has ever composed , aside of course the first album . The interesting thing is that , in its short duration , the song manages to combine the metal riffs sick Danny Cavanagh and especially the unexpected electronic percussion by John Douglas . All this gives the piece a disarming freshness , even if you run out very quickly. The voice , filtered and spoken worthily concludes the work begun with Get Off , Get Out and The Storm Before The Calm . Following Firelight , an ambient piece based guitar perhaps avoidable as it is not particularly original or mood , but simply functional introduction of the title track . Distant Satellites is introduced by an electronic drum patterns really rich, that no one would ever expect to hear in an album from Anathema . The instrumental ethereal and supported only by electronic percussion , settles the sweet voice of Vincent Cavanagh , who follows the vocal melodies that seem to have little to do with that kind of song. The second part of the song sees a more linear battery and more electronic sound , a fuller arrangement and a repetition of the chorus also supported by the contribution of vocal Lee Douglas. The Final Take Shelter echoes echoes of a certain famous Icelandic post-rock band , with a slow gait own memory post-rock (apart from the reference to Sigur Ros ) , culminating with an outro that mixes percussion once again electronic orchestrations of thumping rock supported by a system , which together refer to the title track of the Raven that Refused to Sing , the last album by Steven Wilson, who was incidentally involved in mixing a few pieces ( including this one) .
In short, Anathema not disappoint , although perhaps not surprising that much, except for some truly memorable songs . Certainly , however , the album is worth listening to over and over again , to be appreciated and to get our soul , toll exacted by some music so that it can really give the best of what it contains in the magic of its own essence .
RATING: 8 +

from vincent cavanagh fan page member on fb

http://www.debaser.it/recensionidb/ID_40948/Anathema_Distant_Satellites.htm

original link with italian text

http://drownedinsound.com/releases/18273/reviews/4147848

Quote :

For doing such a thing with so much vitality means that, after all these years, they deserve to be finally recognised as the national treasures that they have been for some time.

  

the guardian.. fancy   

Did this come up already?    
http://www.metal-rules.com/metalnews/2014/06/02/anathema-interview-with-danny-cavanagh/

I think it hasnt. dont worry  


good interview!

Indii wrote:

I think it hasnt. dont worry  

good interview!

Thank you, Captain Indii!
Always appreciate your hark work on the forum!
Eden xXx