Anathema

Anathema – Internal Landscapes – Album Review

Artist: Anathema

Album Title: Internal Landscapes

Label: Kscope

Date of Release: 26 October 2018

I don’t normally review compilation albums because I tend to prefer spending my time listening to new, original material rather than giving my thoughts on music that is already well-known and well-established. However, on this occasion, I am willing to make an exception. That’s because the record in question relates to one of my all-time favourite bands, Anathema. And, quite frankly, I’ll take any excuse to listen to their music.

‘Internal Landscapes’ does not cover the Liverpudlian band’s entire career; rather it takes a look back over the past ten years, from 2008 to 2018, to explore the material released in partnership with the Kscope label. Many will argue that this has been the most impressive era within Anathema’s career and on the evidence of the thirteen tracks chosen here, you’d be a brave person to argue against this assertion. I have loved Anathema throughout their career, from their more extreme and dark metal beginnings, right through to the modern, atmospheric, emotional and progressive rock band that they have gradually morphed into.

However, it is within this Kscope era that Anathema have released their greatest single album, with others pushing it very close indeed. I am, of course, referring to the exquisite ‘Weather Systems’, a genuinely perfect album that remains a constant musical companion to me with the ability to move me whatever mood I am in when I press play.

Follow-up ‘Distant Satellites’ is also near-perfect, whilst the most recent release, ‘The Optimist’ also saw the band in great form if, with the benefit of a little time and some greater perspective, it doesn’t quite hit the heights of its two predecessors for my tastes. Nevertheless, it still wipes the floor with most other rock bands out there. And that, in itself, demonstrates just how good Anathema have become in recent years.

So what do we get with ‘Internal Landscapes’, an album named, coincidentally, after my favourite Anathema track of all-time? Well, you get three cuts from the aforementioned ‘Weather Systems’ including a finale of the title track, three from 2014’s ‘Distant Satellites’, two from 2010’s delightful ‘We’re Here Because We’re Here’ and three from ‘The Optimist’. Then there’s the acoustic reworking of ‘Are You There?’ from 2008’s ‘Hindsight’ which originally featured on 2003’s ‘A Natural Disaster’ as well as the marvellous orchestral rendition of ‘J’ai Fait Une Promesse’ from ‘Falling Deeper’, released in 2011.

Some may question the need for a release like this in the modern music world. But, importantly, what this retrospective does, is it gives us a chance to revisit some of the most poignant and emotionally powerful compositions that have ever been penned, by anyone. People laugh at me when I say that in my opinion, Anathema are the greatest band to ever emerge from Liverpool, but when I listen to these songs, I truly mean it. Very few artists touch me on such a personal level as Anathema, meaning that they will forever have a special place in my heart.

Take ‘Internal Landscapes’ as the prime example. Not only is the song itself exquisitely passionate and beautiful, as I wrote back in 2012, “It begins with the voice of an man recalling his personal ‘near death’ experience and, as the story nears the end, he is joined by an acoustic guitar. At that point, I nearly always well up. Those of you who know me and know my own story will understand why. Suffice it to say though that the words and sentiment within the song have an added resonance when you’ve been the one sitting by the bedside, watching helplessly as a loved one slips away. Only, in my case, that loved one never came back.”

How many bands can you name that have such an incredible ability to reach inside their listeners and tug purposefully and knowingly on their heartstrings?

But everywhere you look on this album, there are snippets of musical and compositional genius, evidence of a group of musicians at their very peak of creativity, able to produce sheer magic. From the gradually-building ‘Anathema’ that eventually erupts with a achingly poignant lead guitar solo that represents the thunderous bursting of an emotional dam, to the strikingly different and electronics-heavy ‘Leaving It Behind’.

Then there’s the powerhouse one-two of ‘Untouchable, Part 1’ and ‘Part 2’, which tests my emotional strength every time I listen, especially the delicate, fragile and heart-breaking ‘Part 2’ which sees Lee Douglas deliver some of her best vocals to date.

I often overlook ‘We’re Here Because We’re Here’ because it sits chronologically-speaking in the shadow of ‘Weather Systems’. But when the gorgeous sounds of ‘Dreaming Light’ caress my ears, I am reminded in the best possible way just how utterly amazing this record truly is. In fact, hearing this and ‘Thin Air’ again led me to revisit the album in full. I now class it as arguably my second-favourite studio release, alongside ‘Distant Satellites’ and ‘Eternity’ from their earlier days.

Add to this some interesting and completely honest liner notes from Daniel Cavanagh as well as artwork from Travis Smith and you have a release that demands a place in your collection regardless of whether you already have all these songs on your shelf elsewhere. Anathema prove once again that they really are one of the most important and special bands on the planet right now. For the impact that Anathema have had on my life and the sheer strength their music has given me in good times and bad, what other score could I possibly give this release?

The Score of Much Metal: 10

If you’ve enjoyed this review, you can check out my others from 2018 and from previous years right here:

2017 reviews
2016 reviews
2015 reviews

Samskaras – Lithification
Seventh Dimension – The Corrupted Lullaby
Hate Eternal – Upon Desolate Sands
Witherfall – A Prelude To Sorrow
Northward – Northward
Seventh Wonder – Tiara
Warrel Dane – Shadow Work
Haken – Vector
Beyond Creation – Algorythm
Ultha – The Inextricable Wandering
Amaranthe – Helix
Ghost Ship Octavius – Delirium
Decembre Noir – Autumn Kings
The Odious Construct – Shrine of the Obscene
Fauna Timbre – Altering Echoes
The Moor – Jupiter’s Immigrants
Revocation – The Outer Ones
Riverside – Wasteland
Ethernity – The Human Race Extinction
Dynazty – Firesign
Deicide – Overtures of Blasphemy
Brainstorm – Midnight Ghost
Krisiun – Scourge of the Enthroned
Kingcrow – The Persistence
Cast The Stone – Empyrean Atrophy
Omnium Gatherum – The Burning Cold
Helion Prime – Terror of the Cybernetic Space Monster
Madder Mortem – Marrow
A Dying Planet – Facing The Incurable
Árstíðir – Nivalis
Mob Rules – Beast Reborn
The Spirit – Sounds From The Vortex
Aethereus – Absentia
Unanimated – Annihilation
Manticora – To Kill To Live To Kill
Rivers of Nihil – Where Owls Know My Name
Halcyon Way – Bloody But Unbowed
Michael Romeo – War Of The Worlds, Part 1
Redemption – Long Night’s Journey Into Day
Distorted Harmony – A Way Out
Tomorrow’s Eve – Mirror of Creation III – Project Ikaros
Atrocity – Okkult II
Lux Terminus – The Courage To Be
Kataklysm – Meditations
Marduk – Viktoria
Midas Fall – Evaporate
The Sea Within – The Sea Within
Haken – L-1VE
Follow The Cipher – Follow The Cipher
Spock’s Beard – Noise Floor
Ihsahn – Amr
The Fierce And The Dead – The Euphoric
Millennial Reign – The Great Divide
Subsignal – La Muerta
At The Gates – To Drink From The Night Itself
Dimmu Borgir – Eonian
Hekz – Invicta
Widow’s Peak – Graceless EP
Ivar Bjørnson and Einar Selvik – Hugsjá
Frequency Drift – Letters to Maro
Æpoch – Awakening Inception
Crematory – Oblivion
Wallachia – Monumental Heresy
Skeletal Remains – Devouring Mortality
MØL – Jord
Aesthesys – Achromata
Kamelot – The Shadow Theory
Barren Earth – A Complex of Cages
Memoriam – The Silent Vigil
Kino – Radio Voltaire
Borealis – The Offering
W.E.T. – Earthrage
Auri – Auri
Purest of Pain – Solipsis
Susperia – The Lyricist
Structural Disorder – …And The Cage Crumbles In the Final Scene
Necrophobic – Mark of the Necrogram
Divine Realm – Nordicity
Oceans of Slumber – The Banished Heart
Poem – Unique
Gleb Kolyadin – Gleb Kolyadin
Apathy Noir – Black Soil
Deathwhite – For A Black Tomorrow
Conjurer – Mire
Jukub Zytecki – Feather Bed/Ladder Head
Lione/Conti – Lione/Conti
Usurpress – Interregnum
Kælling – Lacuna
Vinide – Reveal
Armored Dawn – Barbarians In Black
Long Distance Calling – Boundless
In Vain – Currents
Harakiri For The Sky – Arson
Orphaned Land – Unsung Prophets And Dead Messiahs
Tribulation – Down Below
Machine Head – Catharsis
Bjorn Riis – Coming Home EP
Twilight’s Embrace – Penance EP
Bloodshot Dawn – Reanimation
Rise of Avernus – Eigengrau
Arch Echo – Arch Echo
Asenblut – Legenden
Bleeding Gods – Dodekathlon
Watain – Trident Wolf Eclipse

Album of the Year 2017 – Number 6

Welcome to day 25 of my ‘Album of the Year 2017 top 30 countdown’.

It is at this point, quite late in the day, that I realise that there is a key component to the albums and the music that fills the highest spots in this year’s list. And that, dear readers, is emotional depth. I am and always will be a sucker for a savage riff, a lightning fast solo or a blast-beat. But equally, I will always succumb if the music has something about it that moves me. And today’s pick is the perfect example of what I’m talking about.

As always, links can be found below for all of my previous posts in this year’s series, along with a couple of ‘honourable mentions’ posts and the entire series from 2012-2016.

And on that note, let’s keep things moving and reveal who has taken my no.6 slot…

Number 6

Daniel Cavanagh
Monochrome
Kscope

‘Monochrome’…is very much an original album, penned by Daniel Cavanagh alone. In addition to the entirety of the song writing, Cavanagh also performed the majority of the music, albeit calling on the services of a couple of notable names along the way to add their own touch of class to the compositions. So into the mix come the angelic vocals of Anneke van Giersbergen and violinist Anna Phoebe…

Daniel Cavanagh’s descriptions of his music are beautiful and poetic. So it will come as literally no surprise to learn that the music itself which spans seven tracks and 48 minutes is equally as beautiful, if not more so. And importantly, what makes ‘Monochrome’ so fascinating to listen to, is that it is such an intensely personal listening experience. This is Daniel Cavanagh bearing himself to the world in musical form, and the result is quite magical, not to mention raw, honest and superbly elegant.

‘The Exorcist’ is, as I sit here now, easily the equal to all the material on ‘Weather Systems’, an album I gave a truly-deserved and guilt-free ten out of ten score.

As if his exploits with Anathema weren’t enough, Daniel Cavanagh has now created a near masterpiece under his own name. ‘Monochrome’ is an album to awaken the mind and nourish the soul. The fact that it does so via the backdrop of some of the most beautifully-crafted, elegant compositions I’ve heard this year only makes the experience even more powerful, more emotive and utterly magical.”

Read the full review here.

Daniel-Cavanagh-drawn-by-Danny-Branscombe-v1-1 — Credit: Danny Branscombe

I’m sitting here wondering why on Earth I only gave this record a ‘9.5/10’ when I reviewed it back in October. The more I have listened to ‘Monochrome’ (and listen to it I certainly have), the more I have fallen in love with it.

I don’t profess to have the same poetic gift as the creator of this album, so I shall content myself with describing ‘Monochrome’ as one of the most raw, honest and pure listening experiences for many a year. And, if you’d told me that Daniel Cavanagh’s latest solo release would eclipse that of his day job band Anathema, I would have been surprised. Not shocked, but I’d certainly have raised an eyebrow. But it’s true.

You can’t compare the two releases however. There are a few similarities of course – I’d be silly to claim otherwise given the central protagonist in both. However, as the man himself rightly declared on social media recently, they both have a very different vibe. Both are dark affairs but I find ‘Monochrome’ to be the more fragile and melancholy of the two. It has a rawness and honesty that cuts right to the bone and moves me every time I listen, no matter my mood.

The album opens with ‘The Exorcist’, easily one of my favourite songs of the year thanks to a devastating combination of poignant melodies and heartfelt lyrics. It is a song that speaks to me very deeply and has brought me to tears on many occasions. I really like Daniel’s vocals and the way he shifts from a quiet and tentative approach to then break off the shackles to deliver something much more powerful and spine-tingling as the song draws to a close. The haunting guitar solo that features towards the end is a masterstroke also.

‘Monochrome’ is then brought to a close by the exquisitely tranquil ‘Some Dreams Come True’. It is more of an ambient piece that reprises melodies heard elsewhere on the record but also has an atmosphere all of its own thanks to the gentle sound of waves lapping against the shore. However, it is the final 90 seconds that seals the deal for me. Out of nowhere comes the infectious and warm sound of a chuckling baby. Speaking as a father of two small children, this is one of the most overwhelming and emotional things I have ever heard, especially in the context of this record. When I hear the laughter, my heart is filled with joy and warmth whilst at the same time, I struggle to hold things together. The tears well up and I’m an emotional mess as my mind is filled with all kinds of conflicting emotions. It is such a pure sound and, in many ways, is the perfect metaphor for such a pure-sounding album.

In between the opener and closer, we are treated to further exceptionally-crafted songs, some of which are beautifully enhanced by the extraordinary talents of Anneke van Giersbergen. The music is never technical but is varied enough to hold your attention, as Daniel explores ambient, classical and post-rock soundscapes with aplomb.

I could go on and on, but instead I’ll end by saying that Daniel Cavanagh’s latest solo effort is deserving of this position in my top 30 primarily because of the way in which it makes me feel. Daniel Cavanagh has an amazing gift of being able to convey his innermost thoughts and feelings via his music, taking the listener with him on an emotional, yet enriching, journey.

If you missed either of my 2017 ‘honourable mentions’ posts, here they are should you be interested:

Album of the Year 2017 – honourable mentions Part 1
Album of the Year 2017 – honourable mentions Part 2

Previous posts in my 2017 Top 30 countdown:

And from previous years:

Album of the Year 2016
Album of the Year 2015
Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Album of the Year 2017 – Number 12

Welcome to day 19 of my ‘Album of the Year 2017 top 30 countdown’.

As the UK undergoes a ‘big freeze’, my traditional end-of-year series is beginning to hot up. It doesn’t seem like nineteen minutes since I started it, let alone nineteen days. But time, as they say, flies when you’re having fun. And I’m certainly having fun. It hasn’t been easy to put this all together but the payoff has been well worth it, with plenty of positive interaction along the way from readers and artist alike.

The biggest buzz is always when someone reads a post and discovers a new band in the process. This has happened a few times this year and I couldn’t be happier every time. This website was set up to bring as much great music as possible to the fore, so it’s great when it actually works.

As always, if you have missed any of the previous posts in this series, links can be found at the bottom of this post along with links to the entire countdowns from previous years.

Number 12

Anathema
The Optimist
Kscope

“Never ones to shy away from experimentation, ‘The Optimist’ is yet another shift in Anathema’s own personal evolution. Whilst the core ingredients of atmosphere, emotional depth and lyrical eloquence are present and correct here, the output framed loosely by alternative/prog rock, has a much darker feel to it in general. There is also a more pronounced use of loops, electronic sounds and percussion that were hinted at within the title track on ‘Distant Satellites’.

‘The Optimist’ is not an instant fix, an immediate score of your favourite musical drug. What it is instead, is a multi-layered, multi-faceted record that demands time and effort on behalf of the listener to unlock its true potential. And when it unlocks…wow!

Once again, Anathema have delivered an album that is more to me than just a collection of beautifully and lovingly-crafted songs. It is an album that lives and breathes. It has a vibrancy, an intense raw honesty and a human depth that many strive to deliver but that very few succeed in achieving. Whether or not it ultimately surpasses the last couple of records in terms of my overall enjoyment, only time will tell. For now though, I am content to lose myself in ‘The Optimist’ via its aural magnificence and the emotional succour that it provides to this fragile and damaged soul.”

Read the full review here.

Anathema-promo-2017-1-1024x683 Caroline Traitler — Credit: Caroline Traitler – http://www.carolinetraitler.net

Given my well-documented love for Anathema, it seems a little strange to see their latest album as low as no.12 in my end-of-year list. It’s all relative of course because in a year as strong as 2017 has been, a top 12 finish should be applauded. But this is Anathema. One of my all-time favourite bands, Anathema are the band that released the masterpieces that are ‘Weather Systems’ and its follow-up, ‘Distant Satellites’. These finished no.1 and no.2 respectively in my lists of those years.

The first thing to say is ‘The Optimist’ is a fantastic album, a record that contains some stellar material that ranks with the Liverpudlians’ best. My review at the time of its release was suitably complimentary and I stand by the content.

I really like the way in which Anathema are keen, eager almost, to experiment with their sound. But what’s intriguing is the way in which the experimentation is married to a return to the past, with a reprise of the concept begun on ‘A Fine Day To Exit’. It makes for a fascinating listen and provides some possible answers to questions left hanging at the end of the aforementioned 2001 album.

The experimentation with sound sees a greater use of the electronics hinted at within ‘Distant Satellites’, something that I was uncertain of on a first listen. And, if I’m honest, I remain very undecided over the direction of a few of the tracks on this record – the smoky backstreet jazz overtones of ‘Close Your Eyes’ being the biggest example.

But a few minor misgivings do not detract from the fact that ‘The Optimist’ is another excellent release from one of the most important bands in my life.

Tracks like ‘Endless Ways’, ‘Ghosts’ and ‘Back To The Start’ contain all of the magic, poignancy and sophistication that are hallmarks of this incredible band. Almost effortlessly, they create a swell of strong emotions within me, making me feel as if they have written the songs for me and me alone. The very thought is ridiculous of course, but this connection that I and many others have with the music demonstrates most eloquently the near genius of the song writing.

What’s more, these tracks get better with time and increased familiarity. The old saying suggests that ‘familiarity breeds contempt’. In the case of Anathema however, nothing could be further from the truth. As such, ‘The Optimist’ cannot fail to find its way into my affections and into my year-end ‘best of’ list.

If you missed either of my 2017 ‘honourable mentions’ posts, here they are should you be interested:

Album of the Year 2017 – honourable mentions Part 1
Album of the Year 2017 – honourable mentions Part 2

Previous posts in my 2017 Top 30 countdown:

And from previous years:

Album of the Year 2016
Album of the Year 2015
Album of the Year 2014
Album of the Year 2013
Album of the Year 2012

Daniel Cavanagh – Monochrome – Album Review

Artist: Daniel Cavanagh

Album Title: Monochrome

Label: Kscope

Date Of Release: 13 October 2017

My love and admiration for Anathema needs no introduction. They are a top five band, a very important part of my life. Naturally then, I was ecstatic and hugely excited by the news that Daniel Cavanagh was to release a new solo album, entitled ‘Monochrome’.

Cavanagh is so stranger to solo albums either. In 2013, Cavanagh collaborated with Joseph Garaci, the voice that opens up the immensely powerful ‘Internal Landscapes’ from 2012’s ‘Weather Systems’. The result was called ‘The Passage’ and was quite beautiful. Either side of this release, Cavanagh has delivered more solo material, including the Nick Drake covers album ‘A Place To Be’ (2004) and ‘Memory And Meaning’ (2015), which featured re-workings of important songs in Cavanagh’s life, a diverse range of material from Kate Bush to Fleetwood Mac, to Iron Maiden.

‘Monochrome’ however, is very much an original album, penned by Daniel Cavanagh alone. In addition to the entirety of the song writing, Cavanagh also performed the majority of the music, albeit calling on the services of a couple of notable names along the way to add their own touch of class to the compositions. So into the mix come the angelic vocals of Anneke van Giersbergen and violinist Anna Phoebe, who made a hugely impressive appearance at the ‘A Sort of Homecoming’ DVD show.

Like Pavlov’s dog, I can hear many of you salivating at the prospect of all this. Or is it just me?

About ‘Monochrome’ Cavanagh comments: “The album has a late night, candlelit feeling, evoking the light of dusk as the summer sun sinks below the horizon, setting the scene for thoughts and meditations that many people will relate to.”

Even Daniel Cavanagh’s descriptions of his music are beautiful and poetic. So it will come as literally no surprise to learn that the music itself which spans seven tracks and 48 minutes is equally as beautiful, if not more so. And importantly, what makes ‘Monochrome’ so fascinating to listen to, is that it is such an intensely personal listening experience. This is Daniel Cavanagh bearing himself to the world in musical form, and the result is quite magical, not to mention raw, honest and superbly elegant.

Opening track, ‘The Exorcist’ will ease fans of Anathema in gently because it is very similar in many ways to the output of the last two or three Anathema records. In fact, if Cavanagh can be believed, “It was considered so good by Anathema that the rest of the band would have made this the centerpiece of an album. Taking it from the band was not an easy decision – but I’m glad I did!”

I believe Daniel 100% because ‘The Exorcist’ is, as I sit here now, easily the equal to all the material on ‘Weather Systems’, an album I gave a truly-deserved and guilt-free ten out of ten score. That should I hope, provide you with a fair indication of how highly I rate this first track. A delightfully subtle looped synth sound is joined by a delicate acoustic guitar and a simple yet vibrant piano melody that delivers an unbelievable amount of emotion. As one of those who has always questioned why Daniel Cavanagh has not been utilised more as a singer in Anathema, ‘Monochrome’ adds more fuel to the fire. Arguably not as technically adept as his brother Vincent, nevertheless Daniel has a vulnerability to his voice that conveys a range of human emotions like very few others can. At around the 4:45 mark, Daniel’s voice cracks a little as he begins to increase the intensity in his delivery. Without doubt, it is one of the most powerful single moments in the song alongside the poignant closing guitar solo that’s exquisite or the soul-touching, brutally honest lyrical content. Once again, this master composer has this bitter and wizened scribe fumbling for the tissues through blurred sight.

But then what does Daniel Cavanagh do? He backs up this most amazing of opening tracks with a further eight compositions that, by and large, push it for ultimate supremacy. ‘Monochrome’, which deals largely with the subject matter of love and loss, is not an exercise in technicality or instrumental verbosity. Instead it is deliberately simple and uncluttered in construction, ensuring that the emotion, feel and depth of the music makes the greatest impact on the listener. And, as Daniel quite rightly says, it does create a gorgeously introspective and chilled soundscape that invites thought and contemplation by the listener; it is impossible not to frankly.

And, even though ‘Monochrome’ would be hard-pushed to be referred to as boundary-pushing, it is a genuinely and hugely rewarding listen, displaying enough diversity to the music to keep things interesting whilst injecting a few different ideas to excite those who are open to such things. For example, I hear a definite folk vibe to some of the material. A lot of it has to do with the rich, soothing sounds of the acoustic guitar but it is also more prominent within ‘Dawn’, which is distinctly Celtic-flavoured thanks in large part to the violin of Anna Phoebe.

‘This Music’ sees the mesmeric voice of Anneke van Giersbergen appear for the first time. Whilst still a moving composition, it contains something within the melodies that gives the song a distinctly positive vibe, particularly in the carefully built yet understated crescendo towards the end. I also hear faint echoes of Sigur Rós in the more ambient moments but the duet between Daniel and Anneke gives the beautiful composition an identity of its very own and leaves me with a warm, satisfied glow.

‘Soho’ starts off in the most delicate and introspective of ways with Anneke’s voice atop more simple but intense and moody piano. Way off in the distant, the voice of an insistent guitar can be heard, eventually leading the increase in drama and volume that culminates in a dramatic wall of sound. It’s not overdone though and just as quickly as it arrives, it is gone. The bold sounds freefall into stark minimalism before re-emerging from the darkness slowly, tentatively, and calmly.

The grandly-titled ‘The Silent Flight of the Raven Winged Hours’ is yet another standout composition, albeit a little bit different from the material that surrounds it. It is an instrumental that is dominated in large part by Daniel’s expressive piano-playing. It blends classical music, ambient, prog rock, post rock and many more ingredients into a captivating nine-minute soundscape through which we journey. The unique violin playing of Anna Phoebe weaves in an out of the song, giving it a haunting feel, as do the echoed vocal sounds that puncture through the layers of sound towards the close. Arguably the most complex and multi-faceted song on the album, it is definitely one of Daniel Cavanagh’s finest song writing moments.

‘Oceans Of Time’, by contrast, reverts back to more familiar territory with Daniel singing softly over another piano-led melody. Anneke van Giersbergen is the perfect foil for Daniel and she delivers yet another captivating performance, full of sophistication and feeling. My heart nearly breaks every time the midpoint is reached and everything except the piano is ripped away, such is its exquisite beauty. It is the cue for Daniel to really let his voice fly, which he does perfectly, segueing into a lead guitar solo that arrows right to my core such is its purity and simple expressiveness.

‘Monochrome’ then ends on a fittingly tranquil and emotional note with ‘Some Dreams Come True’. The sound of waves gently lapping against the shore and the magical sounds of a young child’s innocent and care-free laughter threaten to bring me to tears one final time. Nevertheless, the chills run up and down my spine as Anna Phoebe accents the simple central melody in bright and breezy fashion, lending a glorious bittersweet feel to the finale.

The Score Of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

White Moth Black Butterfly – Atone
Jag Panzer – The Deviant Chord
Vulture Industries – Stranger Times
Anubis Gate – Covered In Black
Protean Collective – Collapse
Cradle Of Filth – Cryproriana – The Seductiveness of Decay
TDW & Dreamwalkers Inc. – The Antithetic Affiliation
Caligula’s Horse – In Contact
Nocturnal Rites – Phoenix
Arch Enemy – Will To Power
Threshold – Legends Of The Shires
H.E.A.T – Into The Great Unknown
Dyscarnate – With All Their Might
Subterranean Masquerade – Vagabond
Adagio – Life
Paradise Lost – Medusa
The Haunted – Strength In Numbers
Serious Black – Magic
Leprous – Malina
The Lurking Fear – Out of the Voiceless Grave
Prospekt – The Illuminated Sky
Wintersun – The Forest Seasons
Witherfall – Nocturnes And Requiems
Tuesday The Sky – Drift
Anthriel – Transcendence
Decapitated – Anticult
Cosmograf – The Hay-Man Dreams
Orden Ogan – Gunmen
Iced Earth – Incorruptible
Anathema – The Optimist
Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

Half-way through 2017 – the best so far – Part 1

The Blog of Much Metal is nothing if not predictable. But, what it lacks in spontaneity, it makes up for with quality writing, brilliant wit, incisive articles and a bucket load of irony and modesty.

As a result, I return with my usual mid-year round-up of the best music that has been released between January and June 2017. As with last year, I remain a one-man show and so I have not listened to everything that has been released in this period. I have a family and a career to fit in as well. However, I have listened to more albums than ever before (or at least that’s how it feels), so I am content that very little of any note has slipped the net. And if it has slipped the net, I still have six months to put things right. Of course, if I have missed anything out, I shall leave it to you, my dear, loyal reader, to tell me.

Everything in this round-up has consequently been reviewed on this blog already, so I don’t intend on going in to great depth with each pick here. Instead, I’ll provide a few up-to-date thoughts, a quote from the full review and then a link to that review should you wish to check it out. Wherever possible, I will also provide a link to a different track to the one posted with the review. Well, I have to try to give you some value for money, don’t I?

And so, in no particular order, I give you:

Voyager
Ghost Mile

If you were to tell me that there is a band out there creating a bigger buzz in the metal world right now, then I might consider calling you a liar. For a band that had been toiling away for a number of years, gathering a small but select band of cult followers, things have now taken off massively. But then it’s hardly surprising given the quality of the music that they are now creating. Unique, assured and intense, Voyager are the whole package and ‘Ghost Mile’ demonstrates this 100%, no question.

“Voyager today is an even more tightly honed entity. More focused and more self-assured than ever before. That rising stock I mentioned a moment ago? Expect it to go through the roof upon the release of this record, mark my words.”

“In my opinion, Voyager sound like no-one else. They have worked hard over the years to craft their sound and perfect their own vision, to the point where comparisons are impossible and, in any case, are utterly pointless. Their output blends progressive metal, prog and pop-like melodies with a quirky and often atmospheric sheen. Put simply, the music sounds like…Voyager.”

“The only problem with ‘Ghost Mile’ is that it is a stealer of time, a thief of moments. I listen to this record and immediately feel compelled to listen again. Before I know it, huge chunks of my life have disappeared. However, at this precise moment, I don’t care. All I know is that ‘Ghost Mile’ is a very special record from an equally special band and…damn it, I need to listen to it again.”

Read the full review here.

Pain Of Salvation
In The Passing Light of Day

Do you know that feeling when a band you’ve almost given up on delivers a killer album? Well, that’s the feeling I got from Pain of Salvation with ‘In The Passing Light of Day’ way back at the beginning of the year. It seems like forever since I first heard it and given the amount of music around at the moment, it is testament to its quality that I still find myself gravitating towards it. More than that, it still has the ability to send chills down my spine and bring a tear to my eye at times.

“What also works well is the way in which the music sounds fresh and vital but also isn’t afraid to borrow from the band’s past either. As well as the ‘Road Salt’ echoes, there are passages where I also hear elements of the ‘One Hour By The Concrete Lake’, ‘Remedy Lane’ and ‘Be’…”

“2017 may have only just begun but Pain of Salvation have laid down the marker for all others to reach. After a few releases that didn’t move me, ‘In The Passing Light of Day’ has redressed the balance and then some. If this is what intelligent and emotional progressive metal sounds like in 2017, I don’t want the year to ever end.”

Read the full review here.

Persefone
Aathma

I’m still wondering just where this album came from – it is definitely the surprise of the year for me so far. I was never the biggest fan of Persefone but the Andorrans well and truly did a number on me with their latest effort, the incredible ‘Aathma’. It is progressive, technical death metal, the likes of which I have rarely heard, especially to this level. It is like the sextet took everything to a whole new level, from the collective songwriting to the individual performances. And it all sounds so rich and cohesive, with enough accessibility to keep me coming back for more.

“I absolutely love music when it offers a challenge and isn’t afraid to go in directions that it wants, rather than what convention dictates it should do. I don’t mind saying that Persefone have produced an absolute masterpiece with ‘Aathma’ – it is the work of six supremely talented musicians at the top of their game. Short of a miracle, I cannot see any other extreme progressive metal albums topping this during 2017 or beyond. Spectacular.”

Read the full review here.

Anathema
The Optimist

If ever there was an album release that raised my expectation levels to completely new heights, it was this one. The last two, ‘Distant Satellites’ and ‘Weather Systems’ are musical perfection, so I hoped upon hope for a third killer record. After a difficult start, where disappointment initially reigned supreme, I have grown to love ‘The Optimist’. In keeping with previous Anathema albums, it is a deep and emotional rollercoaster of a ride through some dark landscapes that only reveal their beauty with time, effort and an open mind.

“Put simply, Anathema are a band that speaks to me. They are a band that seem to know instinctively how to press my buttons and touch me whatever my mood. From euphoric and uplifting, to fragile and poignant, they cover the gamut of emotions, leaving me exhilarated one minute and sombre the next, frequently with tears as my constant and ubiquitous silent companion.”

“‘The Optimist’ is yet another shift in Anathema’s own personal evolution. Whilst the core ingredients of atmosphere, emotional depth and lyrical eloquence are present and correct here, the output framed loosely by alternative/prog rock, has a much darker feel to it in general. There is also a more pronounced use of loops, electronic sounds and percussion that were hinted at within the title track on ‘Distant Satellites’.”

“Once again, Anathema have delivered an album that is more to me than just a collection of beautifully and lovingly-crafted songs. It is an album that lives and breathes. It has a vibrancy, an intense raw honesty and a human depth that many strive to deliver but that very few succeed in achieving.”

Read the full review here.

Pallbearer
Heartless

It takes a lot for doom metal to feature in any top lists with me because in general, doom is not one of my natural, favourite genres. However, I had not reckoned on the new album from Pallbearer. This is doom metal but it is so much more besides. ‘Heartless’ is a near-perfect blend of styles and sounds, making it transcend genres to a certain extent. Instead, when I listen to ‘Heartless’, I find myself being thoroughly absorbed in some of the most exciting, engaging and mature music I have heard for some time.

“…having since had the opportunity to listen to this album at length, I am going to stick my neck out and say that right here, right now, ‘Heartless’ is the best doom metal record that I have ever heard. Yes it incorporates a number of different influences to create a rich tapestry of sounds, textures and moods. However, at its core, ‘Heartless’ is pure doom metal, born and bred.”

“The injection of more overt progressive tendencies alongside some sumptuous melodies and assured, ambitious song writing means that with ‘Heartless’, Pallbearer have created what I think might very well be my favourite doom metal album ever. Meaningless hyperbole this is not, because ‘Heartless’ delivers in every facet. This is a doom metal masterpiece and my life is richer for hearing it.”

Read the full review here.

Anathema – The Optimist – Album Review

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Artist: Anathema

Album Title: The Optimist

Label: Kscope

Date of Release: 9 June 2017

Anathema is one of my top 5 bands of all time. As such, their new full-length release, ‘The Optimist’ is easily my most highly anticipated album release of 2017.

Put simply, Anathema are a band that speaks to me. They are a band that seem to know instinctively how to press my buttons and touch me whatever my mood. From euphoric and uplifting, to fragile and poignant, they cover the gamut of emotions, leaving me exhilarated one minute and sombre the next, frequently with tears as my constant and ubiquitous silent companion.

I have always liked Anathema, discovering the Liverpudlians via the magnificent ‘Eternity’, back in 1996 as a teenager. However, it was with 2010’s ‘We’re Here Because We’re Here’ and 2012’s ‘Weather Systems’ that my admiration grew into a full-blown love affair, further cemented by ‘Distant Satellites’ in 2014.

To some extent, timing was everything. ‘We’re Here Because We’re Here’ was born less than two years after the heartbreaking passing of my younger brother. And so, when the song ‘Presence’ delivers the spoken word lines of ‘Life is not the opposite of death. Death is the opposite of birth. Life is eternal’ atop a gorgeously ethereal soundscape, I was floored. I know it sounds nonsensical but I felt like Anathema knew me and had put this into the album just for me to help ease my own inner turmoil.

‘Weather Systems’ was released just two years later. Stronger human beings might have moved on from personal tragedy better than I but truth be told, I was still struggling. As such, when I heard ‘Internal Landscapes’ with another powerful spoken word intro delivered by a man who had suffered a near-death experience, I was hit once again. Was this written for me? Of course not, but the conflicting emotions that it stirred in me made me think so. From despair at my loss to the comfort of gaining a little insight into what my brother might have felt as he slipped from us, this masterpiece within Anathema’s undeniable tour-de-force continues to have a huge and lasting impact.

And then, if that wasn’t enough, along came ‘Distant Satellites’ in 2014. I had the pleasure of meeting and interviewing Daniel and Vincent prior to its release. The guys graciously listened to my babblings as I tried to ineloquently describe the importance of their music to me. To my eternal gratitude, the brothers then gave me the gift of a whole new perspective on ‘The Lost Song, Part 2’. Already an achingly gorgeous song, their words made this composition even more important, further cementing the bond between Anathema, my brother and me.

Given all this history, it is very difficult for me to remain entirely objective where Anathema is concerned. And naturally my expectations will be massive ahead of the release of any new material.

And, to begin with, I struggled with ‘The Optimist’, the eleventh album of the Liverpudlian’s career. Never ones to shy away from experimentation, ‘The Optimist’ is yet another shift in Anathema’s own personal evolution. Whilst the core ingredients of atmosphere, emotional depth and lyrical eloquence are present and correct here, the output framed loosely by alternative/prog rock, has a much darker feel to it in general. There is also a more pronounced use of loops, electronic sounds and percussion that were hinted at within the title track on ‘Distant Satellites’. If I’m honest, whilst I love that specific track, I had my doubts and concerns should Anathema venture further down this musical avenue.

The fact that they have done just that perhaps explains why my initial thoughts on ‘The Optimist’ were not overly favourable. The selfish side of me wanted ten more close variations of ‘The Lost Song Part 2’ or ‘Internal Landscapes’ and I felt disappointed that together, Vincent Cavanagh (vocals, guitars, keys), Daniel Cavanagh (guitars, keys, vocals), John Douglas (acoustic/electronic percussion), Lee Douglas (vocals), Jamie Cavanagh (bass) and Daniel Cardoso (drums/keyboards) hadn’t indulged me.

With the benefit of time and perseverance though, I can now admit that it is not the music on ‘The Optimist’ that was at fault, but my own issues, my own limitations and my selfishness. ‘The Optimist’ is not an instant fix, an immediate score of your favourite musical drug. What it is instead, is a multi-layered, multi-faceted record that demands time and effort on behalf of the listener to unlock its true potential. And when it unlocks…wow!

Interestingly the band have married this latest step forward sonically with a thematic step backwards. In 2001, Anathema released an album called ‘A Fine Day To Exit’ which told the story of a man who wanted to escape his life and the modern world. ‘The Optimist’ reprises this story and in so doing, provides closure to a story that was left unfinished. In typical Anathema style however, the conclusion remains deliberately ambiguous, inviting personal interpretation by the listener.

This thematic decision explains the somewhat strange title of the opening track on ‘The Optimist’, namely ’32.63N 117.14W’. These are in fact the co-ordinates for the beach in San Diego where ‘A Fine Day to Exit’ concludes and which, I assume, adorns the cover of that album, a cover that becomes quite emotional with closer scrutiny. I’ll admit that this is in no way my favourite album in the Anathema back catalogue but I had often thought about that cover and the family photo that sits on the dashboard of the empty car wondering how this story ultimately played out. And now I can.

This opener very much has the feel of a concept album introduction. The sound of waves lapping on the shore, footsteps crunching on the beach, a car engine starting and then station-hopping on the car radio. It is more a scene-setter than a piece of music per se but it then segues rather seamlessly into ‘Leaving It Behind’ and we’re off. And we’re off at some pace, because this is a massively up-tempo, loud and abrasive piece of rock music. The electronic aspect is present from the beginning but with a bit of listening, it really enhances the track, adding an interesting slant to the composition, particularly in the brief atmospheric mid-song break down. As the song develops, the intensity increases as guitars begin to build up into walls of jangly sound whilst the drumming from Cardoso is relentless, ably assisted by bassist Jamie Cavanagh. To my mind, it is the perfect way to introduce an album that has deliberately and consciously been recorded ‘live’ in the studio, because the resulting energy is palpable and thoroughly infectious, pulling the listener along for the heady ride immediately.

As ‘Endless Ways’ begins quietly with just a lone piano and plaintive melody, I’m still catching my breath a little. But as Lee Douglas enters the fray for the first time, accented by some lush orchestration, my attention is well and truly undivided. The melodies and angelic vocals are more reminiscent of the last couple of albums, even if Douglas has parked the vibrato which characterised previous performances. Here, as the song majestically builds from humble beginnings into a powerful and heartfelt outpouring of emotions, Lee demonstrates that she is one of the shining lights in rock music today, whilst Anathema demonstrate that they haven’t lost their mercurial spark, whatever I might have first thought. And yes, you guessed it, the tears flow as I find myself being emotionally nourished by the incredibly important rock in my life that is Anathema.

“Hold on, hold on for dear life
And run, and run all night
For you are loved in endless ways
Stay with me, please believe
I can be your memory

My world will never be the same
And my heart is never going to regret
For you are loved in endless ways
Are loved in endless ways”

This wasn’t written for me, just as previous lyrics weren’t. But they could have been. These words resound with me, they touch me and they comfort me.

More piano introduces the title track, but it is Vincent that initially joins in vocally, joined by Lee at times but only fleetingly. Delicate melodies that are pure Anathema begin to work their charm after a few listens and further orchestration embellishments help to propel the song to a new level of sophistication. The track ebbs and flows, toying with the listener’s moods, but as with its predecessor, there is a subtle build-up towards a crescendo where there’s a hint of a wailing guitar in the vein of songs like ‘Anathema’.

‘San Francisco’ is a bit of an odd one. It is an instrumental that is dominated by a rather repetitive yet strangely beguiling melody, a reprise of sorts of ‘Endless Ways’ if I’m not mistaken. It is then accented by atmospheric synths and electronic sounds which help to set a completely different tone, one that I warm to more and more as time goes by.

In keeping with the concept vibe, the sounds of a train in full flight acts as a pause before ‘Springfield’ is introduced, almost shyly and reluctantly via a quiet and delicate guitar melody which is quickly taken up by the piano. Electronic sounds make a subtle return but it is the insistent rhythmic beat that makes the biggest impression in the early stages, driving the song towards what ultimately becomes an imposing wall of post rock-inspired sound led by urgent guitars and topped off by Lee’s serene voice almost pleading to the heavens. The track then falls away to conclude in a minimalist manner accompanied by the sounds of waves, distant sirens and the whispers of a male voice.

Anathema-portrait-1-MEDIA-640x967 — Credit: Caroline Traitler – http://www.carolinetraitler.net

‘Ghosts’ then offers one of the most poignant and immediate melodies on the album which is enhanced by a beautiful string arrangement and a beat that together suggests something reminiscent of a film soundtrack. By contrast, ‘Can’t Let Go’ ups the pace and features arguably Vincent’s strongest performance on the entire record. Once again, drummer Cardoso provides the drive to a track that begins in bold fashion but which builds sublimely through a clever injection of rich and vibrant aural textures.

We return to another snippet of action from the central character before we delve into the murky world of ‘Close Your Eyes’, which evokes images in my mind of a dark and smoky backstreet jazz club. I can appreciate the composition and I don’t dislike it but it is by far and away my least favourite track on the album. The fact that a trumpet plays a significant role no doubt feeds my apathy as I continue to fail to warm to brass of any kind in my music.

Any lingering misgivings are short-lived however as ‘The Optimist’ ends in genuinely commanding fashion courtesy of ‘Wildfires’ and the fittingly-titled epic closer, ‘Back To The Start’.

The former has a dark, eerie tone created by the haunting, echoed vocals of Vincent atop the ubiquitous piano which for large portions of the track delivers something monotone, incessant and deliberately uncomfortable. But it works, as does the controlled explosion of sound before another swift descent into a minimalist, thought-provoking abyss.

The album is then brought to a close by the near 12-minute ‘Back To The Start’ and it is nothing short of magical, the perfect way to round out this impressive body of work. The sound of waves gently lapping onto the beach ushers in an aching and gorgeous melody that, when coupled by some devastatingly honest lyrics, threatens to reduce this grown man to tears yet again. I’m not normally someone who likes choral vocals, especially when they have a vague gospel ‘happy’ feel to them, but here, it just sounds right. Perfect in fact. The combination of voices, orchestration and lyrics as the song builds and ultimately reaches its climax is truly epic and a feeling of barely contained euphoria washes over me, bathing me in a warm glow. It’s all too much, so when the final act of the central character follows, I get tingles, chills and all manner of conflicting emotions.

The Score of Much Metal: 9.5

If you’ve enjoyed this review, you can check out my others from previous years and for 2017 right here:

2015 reviews
2016 reviews

Solstafir – Berdreyminn
Dream Evil – Six
Avatarium – Hurricanes And Halos
Ayreon – The Source
Until Rain – Inure
MindMaze – Resolve
God Dethroned – The World Ablaze
Bjorn Riis – Forever Comes To An End
Voyager – Ghost Mile
Big Big Train – Grimspound
Lonely Robot – The Big Dream
Firespawn – The Reprobate
Ancient Ascendant
Pyramaze – Contingent
Shores Of Null – Black Drapes For Tomorrow
Asira – Efference
Hologram Earth – Black Cell Program
Damnations Day – A World Awakens
Memoriam – For The Fallen
Pallbearer – Heartless
Sleepmakeswaves – Made of Breath Only
Ghost Ship Octavius – Ghost Ship Octavius
Vangough – Warpaint
Telepathy – Tempest
Obituary – Obituary
Fen – Winter
Havok – Conformicide
Wolfheart – Tyhjyys
Svart Crown – Abreaction
Nova Collective – The Further Side
Immolation – Atonement
The Mute Gods – Tardigrades Will Inherit The Earth
Ex Deo – The Immortal Wars
Pyogenesis – A Kingdom To Disappear
My Soliloquy – Engines of Gravity
Nailed To Obscurity – King Delusion
Helion Prime – Helion Prime
Battle Beast – Bringer Of Pain
Persefone – Aathma
Soen – Lykaia
Exquirla – Para Quienes Aun Viven
Odd Logic – Effigy
Mors Principium Est – Embers Of A Dying World
Firewind – Immortals
Slyde – Back Again EP
Sepultura – Machine Messiah
Deserted Fear – Dead Shores Rising
Kreator – Gods Of Violence
Borealis – World of Silence MMXVII
Pain of Salvation – In The Passing Light of Day

BlogOfMuchMetal – Metal News – 28 March 2017

Today is a biggie – it features some surprising news and confirmation of the release of one of my most anticipated albums of 2017. So, without further ado, here goes…

Anathema – The Optimist
Release date: 9 June 2017

17435994_10155255570648629_7570798257854895692_o It’s a great day because I can bring you confirmed details of what has to be one of my most eagerly anticipated releases of 2017. Liverpool’s Anathema have announced that their eleventh album will be entitled ‘The Optimist’ and will be released via Kscope on 9th June 2017.

The thought at the forefront of my mind is this: will ‘The Optimist’ be the emotional rollercoaster to match or better its two predecessors? Both ‘Weather Systems’ and ‘Distant Satellites’ had the power and the raw emotion to move me and when I say ‘move me’, I’m not talking a moistening of the eyes. I’m talking full blown bawling my eyes out, tears streaming down my face stuff. I’m not sure there is another band on the planet that has this particular effect on me, which means that Anathema hold a special place in my heart.

Early reports indicate that ‘The Optimist’ does not dive headlong down the electronic road as hinted at within the title track of ‘Distant Satellites’. Instead, plenty of piano and melody is evident as is the ethereal and angelic voice of Lee Douglas. I’m literally bursting to hear this record and I’m nervous at the same time; just the perfect swell of competing emotions that Anathema thrive on.

Threshold – Legends of the Shires
Release date: TBC

I did not see this coming. The shock news broke just yesterday that UK progressive metal stalwarts Threshold have parted company with vocalist Damian Wilson for a second time. Coming back into the fold following the unexpected death of Mac, he was soon part of the impressive furniture so to speak. Involved with the last two, critically acclaimed albums, as well as the debut ‘Wounded Land’, it was never on the cards for Wilson to be replaced, at least as far as us fans were concerned anyway.

Wilson has gone on record to say that the decision wasn’t mutual but that he respects the rest of the band for making this choice. The reason cited by the rest of the band is that they simply wanted to go in a different direction from before.

In which case, their choice of replacement might raise an eyebrow or two, being none other than Glynn Morgan, their vocalist on ‘Psychedelicatessen’. So, the new direction is actually an old direction it seems. But whatever the situation is, I love Threshold and so I will trust the band and wait to see what happens. It is still unclear whether the upcoming album ‘Legends of the Shires’ will be re-recorded with Morgan on vocals because Wilson has already recorded his parts. And, if so, does this mean a delay for the release. However, Morgan is quoted in the press release as saying ‘I can’t wait to start recording, the new material has me hooked already’. That’s a strong hint as far as I’m concerned, although I shall stop guessing because I’m sure the detail will be confirmed soon enough.

Avataruim – Hurricanes and Halos
Release date: 26 May 2017

1000x1000 I recently brought you confirmed news that Avatarium, one of my favourite doom bands were to bring out a new studio album in 2017. And now, the Swedes have aired live the first song off the album to give us an insight into the content.

Based on ‘Into The Fire/Into The Storm’, ‘Hurricanes and Halos’ threatens to be another strong release from Avatarium. It is tough to gauge 100% on this recording alone but there’s a huge chorus, plenty of bold riffs and that organic 70s feel as well. I’m really looking forward to hearing this in more detail soon.

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Ulver – The Assassination of Julius Caesar
Release date: 7 April 2017

ulver-the-assassination-of-julius-caesar With Ulver, you never quite know what to expect. But then that’s the beauty of truly avant-garde bands; they will confuse, confound and generally befuddle the minds of their followers, trying new things and going in directions that you’d perhaps not expect.

It has been a long time since Norwegian act Ulver bore any true resemblance to their black metal roots and of late, they are even steering clear of rock and metal altogether. Nevertheless, with each passing album, they manage to produce something that keeps me coming back for more. And the same is true here as this track off their upcoming album, ‘The Assassination of Julius Caesar’, is strangely addictive and beguiling. Not my thing at all and yet I’m frequently listening to it. Go figure.

Subterranean Masquerade – TBC
Release date: TBC

I really enjoyed the last album from the progressive metal band Subterranean Masquerade. ‘The Great Bazaar’ featured some highly inventive and original music incorporating elements of 70s prog rock, folk, extreme metal, jazz, symphonic metal and world music along the way. However, the music was pulled together cohesively and with enough melody to keep my interest throughout.

And so I’m delighted to learn that we’re not that far away from a new studio offering. It is now fully recorded and mixed. But not only that, the band has gone on record to say that this is their ‘best sounding album ever’ and ‘most creative’. I know that most bands will say something like this ahead of a new release but even so, if it’s not enough to get fans of progressive music salivating, I don’t know what is.

‘As You Are’ is one of the tracks off the new record apparently, so check it out and see what you think.

Previous updates:

23 March 2017
11 March 2017
5th March 2017
26th February 2017
13th February 2017
3rd February 2017
30th January 2017
21st January 2017

Anticipated music in 2017 – an update – 11 March 2017

It is becoming something of a trend now that almost immediately after I post one of these updates, one of the mentioned bands will release something new, either a new song or more detailed information about their upcoming release. On the one hand, it is quite funny. But on the other, it means that I’m left tearing out what little hair I have left.

It also means that there is justification for writing another update, so that’s what I shall keep doing. Today’s update is briefer than normal but is also one of the most important to date in my opinion.

If you’ve missed any of my previous updates, they can be accessed via the links at the bottom of this post.

Voyager – Ghost Mile
Release date: 12 May 2017

Here is the biggest culprit this time around for releasing something just after I mention them in an update. But it’s Voyager, so I immediately forgive them and bring you the latest news that I have regarding the modern melodic progressive metal band with pop/synth leanings.

According to the band themselves, the release date for ‘Ghost Mile’ is 12th May 2017 and, having now reached their pledge target, they have released the first track off the new album. Here it is in all its glory and I’m sure you’ll agree that it’s a bit of a monster.

Anathema – TBC
Release date: TBC

This is arguably the biggest news that could come out in 2017 – a new album from Anathema. The Liverpudlian band are one of my all-time favourite artists and after many of the big hitters in my world released albums in 2016, Anathema are set to return this year with brand new material. I have this on very good authority, so trust me on this.

Anathema are one of those bands that seem to effortlessly create beautiful and poignant music. I have lost count of the amount of times I have shed tears whilst listening to this band and frankly, long may that continue.

I will admit to having a few nerves leading up to this new album because I have such high hopes for Anathema and I pray that the new album delivers in the same way that the last two or three certainly have. if you recall, the title track from ‘Distant Satellites’ was noteworthy because of the increased use of electronica – I’m wondering whether this might be an area of greater exploration this time around? Whilst I do love that track, I have to admit that I hope it isn’t a future trend, because I love Anathema most when the music is more organic, beautiful and lyrically intense.

As I said, I have it on very good authority that the album will see the light of day sooner rather than later, so hopefully we won’t have to wait much longer to find out.

Moonspell – 1755
Release date: November 2017

K1600_1755 I’ve had a soft spot for Moonspell ever since I heard the awesome ‘Irreligious’ back when I was a teenager. However, as far as I was concerned, it took until 2015 and the release of ‘Extinct’ for the Portugese Gothic metallers to hit somewhere near to the heights reached some 20 years ago.

My love for the band has now been well and truly rejuvenated and so when I heard that a new album was due in the near future, I was excited. Having now read a little more about it, I remain excited but also highly intrigued.

Entitled ‘1755’ it will centre on the Great Lisbon Earthquake of that year and, as the press release states, “the band has developed a lyrical concept that looks into the death and rebirth of Lisbon and how the disaster changed Religion, Politics and Philosophy in the whole of Europe.”

What’s more, it will be heavier than ‘Extinct’ and will be sung entirely in Portuguese. The image attached may or may not be the cover artwork, but it gives us a bit more of an idea of what we might expect in November. My appetite has been whetted, how about yours?

Teramaze – TBC
Release date: TBC

I reviewed the most recent album from Australian melodic progressive metal band Teramaze on this very blog and I was rather taken by it I must admit.

As a result, I have been buoyed by news that new material is being worked on at the moment. I have no firm answers as to whether a new record would be released in 2017 but I will keep my fingers crossed. In the meantime, the band have released a snippet of the new music they are writing which I thought I’d share with you.

The noises coming early from the band’s camp suggest that they are really happy with the way the music is shaping up, which is always nice to hear. And, if this demo material is anything to go by, the satisfaction of the Teramaze guys is pretty understandable.

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Previous updates:

5th March 2017
26th February 2017
13th February 2017
3rd February 2017
30th January 2017
21st January 2017

Anticipated music in 2017 -An Update – 21 Jan

Since I wrote my series looking at some of my most anticipated album releases of 2016, there have been some updates. I’ve never really done this kind of thing before, so let me know if you like it or find it useful. My plan is that if it is welcome, I could continue these bulk update posts throughout the year. I’ve shied away from re-posting individual press updates as there are plenty of sites that do this and I like my updates to involve a little effort on my part rather than simple regurgitation.

Over to you…what do you think?

Soen – Lykaia

First up, here’s a new song from prog band Soen, from their upcoming album ‘Lykaia’ due for release on 3rd February. Soen are a band that I really like but completely forgot to mention in my ‘most anticipated of 2017’series, sorry. I’m a sucker for Marcus Jidell’s guitar playing in particular, as well as the more organic sound that they employ, so I’m really looking forward to hearing some new material from this vastly underrated band.

Ayreon

In the last couple of days, Arjen Anthony Lucassen has revealed the title and artwork of his new Ayreon album. Entitled ‘The Source’, I’m sure you’ll agree that the cover is very cool, not to mention quite dark and sinister, suggesting an album full of music with a similar tone. If that’s the case, it is bound to be a hit with me. Mind you, I’m not sure that there is an Ayreon record that has been released to date that I haven’t liked!

ayreon-cover

Iced Earth

On 15th January, Jon Schaffer went live and provided an update on the world of the American metallers. Essentially, the upshot is that the studio that Jon had built is now complete and the pre-production for the album appears to be all but done. What this means is that the various members of Iced Earth will be heading to the studio over the next month or so to record their parts.

And then, just yesterday, we had an update from the studio where drummer Brent Smedley has arrived to lay down his material for the new album. So, whilst there’s yet to be a final release date, things are progressing nicely for a mid-late 2017 release.

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Lost In Thought

A few days ago, a new video was posted by UK prog metallers Lost In Thought. It isn’t very long, but it gives a little insight into the musical direction of the new album and proves that the finished article can’t be a million miles away. I’m liking this riff – it is getting me very interested in hearing the final product that’s for sure.

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Cynthesis/Jasun Tipton

Whilst keeping my eyes open for news on the new Cynthesis album, I had cause to make contact with Jasun. The guy is seriously one of the nicest guys on the planet and his response gave me cause to be extremely happy. Not only is a new Cynthesis on the horizon, there is other music in the pipeline from Mr Tipton. I quote:

“Plenty of music on the horizon actually. A Dying Planet is almost tracked. Cynthesis 3 is in focus again. Plus if I can make Zero Hour – DeEvolution come to life that would be great!”

With regard to the latter, it appears that the material for a new album from Zero Hour was recorded back in 2002-03. There are problems in finding out what programme the files are in given that it is 15 years ago, but this is being worked on as I type. The band is now officially defunct due to the fact that Troy Tipton can’t play the bass guitar any more. However, the music exists and hope is not lost for it to see the light of day eventually. If, like me, you love Jasun’s guitar playing, all this is superb news.

Anathema

In my previous series, I listed Anathema in hope as much as expectation but felt it was a calculated risk based on their normal release cycle of late. There is still no definitive word on a new album in 2017, but the omens are good based on a recent post by the band on social media. The picture is below and I invite you to draw your own conclusions. Personally, I am buoyed by this latest inferred development and will keep my eyes open for more concrete news very soon.

anathema

Seventh Wonder

According to a post on social media, Seventh Wonder are hard at work in the studio at the moment, working on a long overdue follow-up to ‘The Great Escape’. It is too early to say for sure when the new album will be released but at least we now have definitive confirmation that a new record will see the light of day before too long. Finally!

Vanishing Point

Whilst the band pages have been quiet of late, guitarist and all-round top bloke Chris Porcianko posted an update on 17th January to say that vocalist Silvio and he had met up for another pre-production vocal. No samples sadly, but in Chris’ own words: ‘he’s killing it!!’ In addition, he goes on to say: ‘Totally loving the new shit, it’s sounding really, really great…’

Anyone else’s excitement levels just go up a notch? I think we’re guaranteed a new album in 2017 now.

My most anticipated releases of 2017 – Part 2

Welcome to part 2 of my mini series taking a look into my crystal ball at some of the albums I know, think or hope will see the light of day during the year ahead.

If you missed part 1, you can read it here: My most anticipated releases of 2017 – Part 1

Forgive me if you’ve seen a few of the names already mentioned in previous series from previous years. However, my crystal ball doesn’t always work and, when coupled to the oft-fickle music world and the fact that the bands I like aren’t always full-time musicians, there is a lot of scope for getting things hopelessly wrong. So I have.

But hey, I hope it still makes for interesting reading. And on that note, here are another five albums I’m hoping for in 2017…

Kingcrow – TBC
Release date: TBC

Are we due another Kingcrow album so soon after the incredible ‘Eidos’ from 2015? I don’t know and perhaps it is a little unlikely; this is definitely mentioned more in hope than expectation. However, I do know that the band are hard at work writing new music, so it isn’t perhaps beyond the realms of possibility.

What I can say for sure is that if ‘Eidos’ was anything to go by, the Italian progressive metal band are on an upward trajectory. ‘Eidos’ was a cracking album full of beautiful and sophisticated progressive music which was deceptively complex and technical. With Kingcrow, beauty and atmosphere come first, meaning that the songs themselves are packed full of emotion and gorgeous melodies. However, give the music time and those subtle intricacies reveal themselves and lend the music genuine longevity. The more I type, the more I hope that Kingcrow deliver another masterpiece in 2017.

Anathema – TBC
Release date: TBC

2017 must be the year in which we see a return of my favourite band ever from Liverpool…and no, I don’t mean The Beatles. Anathema are a top 5 band of all time for me, a situation only further cemented by the supreme one-two of ‘Weather Systems’ and 2014’s ‘Distant Satellites’.

Very few bands, if any, have the innate ability to reduce me to tears so easily. Theirs is a style of music that transcends genres and styles; Anathema write music that is emotionally charged, raw, honest, poignant and utterly majestic. They don’t sound like anyone else and no-one can replicate what they do so beautifully.

Nothing More – TBC
Release date: TBC

This is another band that I have mentioned in these series before as it seems like we’ve been waiting a long time for a new studio album. I’m not sure why we have this delay, but I’m hopeful that it will be worth the wait.

Nothing More were an utter revelation for me a couple of years ago as it’s not the kind of music I’m normally into. It’s actually difficult to pigeon-hole Nothing More into one single genre, but for brevity, I’d say it’s modern hard rock that contains elements of nu-metal, djent and demonstrable pop-rock sensibilities. What made their last self-titled album so strong in my opinion, was the combination of cocksure conviction from the band, a great song-writing nous and the inclusion of some of the biggest and catchiest choruses I’ve heard for quite a while. And they managed to prove a jaded cynic like me wrong by producing a slick, catchy album that avoided sounding plastic and soulless.

Seventh Wonder – TBC
Release date: TBC

Waiting for a new Seventh Wonder album is a frustrating experience but one that is generally worth the effort and frustration. So, could 2017 be the year that we see a new album from this insanely talented Swedish band? I certainly hope so.

Unbelievably, their last studio endeavour, ‘The Great Escape’ saw the light of day around seven years ago. That’s simply too long if you’re looking to maintain momentum and keep a buzz going. However, seventh Wonder are special. Blending tons of technicality with memorable melodies and almost pop-like vocal melodies from the incredible Tommy Karevik, they tick all the boxes and deliver a more than satisfying listening experience each and every time. There are some bands that can seemingly do no wrong and Seventh Wonder are one of those without doubt…except maybe releasing albums more timely of course!

Andromeda – TBC
Release date: TBC

2017 must be the year for album number six surely? After all, back in July 2016 the Swedish prog metal maestros had completed the bass tracking for the new record. Or am I just being impatient?

It has been, somewhat unbelievably, over five years since they released the utterly fabulous ‘Manifest Tyranny’ and I for one cannot wait to see what they deliver next. The thing I love most about Andromeda is their ability to sound quirky and properly progressive yet somehow pull it all together and put the complexity into compositions that have surprising amounts of metal crunch, hooks and melodies, giving the tracks a feeling that they are songs and not just self-indulgent virtuoso workouts. Technical they may be, but impenetrable they are not and the whole thing just screams ‘class’.

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