Anathema
Alternative 4

Anathema is one of those (few) bands that I cherish so much that I always find myself in difficulty whenever I'm asked which of their albums I prefer. I experience similar indecision with Pink Floyd, Novembre, and a few others, but if I had to choose a benchmark, it would be the four from Cambridge. Talking about them, I've always felt a bit misunderstood when citing "Animals" as my favorite album, a rather challenging record to listen to, which doesn't resonate with many people. Returning to Anathema, not without some difficulty, I identify their work I prefer the most in that masterpiece known as "Alternative 4." In this album, the band led by the Cavanagh brothers decisively shifts to a less doom style (typical of the early period), less electronic/psychedelic ("Eternity"), veering towards a kind of gothic metal with its own traits. It is metal, for sure, but it's only partly gothic, as it also shines with ambient, alternative (indeed), more canonical rock elements (not coincidentally derived from the latest Floyd works), and others. What emerges is one of the most refined and sweet records of the Anathema discography, an album ethereal and violent when needed, sentimental, emotional, psychologically deep and touching, full of sadness, suffering but also glimmers of light and hope. Forget the growl and the nerve-racking and slow rhythms, forget the psychedelia and space escapes, here there's only introspection, a search for one's self, a looking at oneself in the mirror and baring one's own essence.

To understand what I am talking about, listen to "Shroud Of False": few piano notes, verses whispered by an incredibly inspired Vincent: "we are just a moment in time/a blink of an eye/a dream for the blind/visions from a dying brain/I hope you don't understand". The mind quickly races to "The Wall," "Wish You Were Here," and "A Momentary Lapse Of Reason," and as the track fades into the next, one realizes that we are about to enter a tunnel from which, in all probability, we might emerge somewhat wounded and aching, but definitely enriched within.

Although the album sometimes showcases thematically and rhythmically complex structures, it impresses with its immediacy of listening. "Fragile Dreams" captivates right from the first listen, with the drum crescendo and moaning guitars exploding into a truly spine-tingling riff. The track is undoubtedly one of the most beautiful ever written by the group, able to fully narrate itself after just a couple of minutes, but it is with the beautiful vocal that the song assumes its complete form: a desperate yet lucid lament, embittered but with a secure and cynical stride. Applause-worthy.

"Empty" increases the sensation of ease in listening and empathy of the previous. The territories here are more rock-oriented, with definite gothic rock nuances (especially in the keyboards and some parts of guitar), while sweetness does not transpire at all but only rancor and frustration in Vincent's verses, mitigated only partly by a piano break that instead of relieving the tension enhances it.

Next is the funereal "Lost Control." Despite lacking doom-heavy weight, the pain and psychological desolation are perfectly depicted by delicate piano and finally heavy and titanic guitars, on which rest like light snowflakes the desolate words of the band leader ("I can't tell you why I'm breaking down/do you wonder why I prefer to be alone?/have I really lost control?"). Those who know Antimatter know how much they owe to "Alternative 4," and proofs can be found even in the second part of this "Lost Control," with subdued and more reflective tones compared to the first half.

We then arrive at what I unquestionably consider THE MASTERPIECE by Anathema, "Inner Silence." A very brief track, six verses spread over just three minutes, dominated by the strongest emotions I have ever felt listening to a song. It's the most common story in the world, a love broken by death: when silence approaches and the day is about to end, when your vital light starts to dim and love dies from your eyes, only then will I be able to realize what you have been for me. The text is all here, supported by a crying piano and stretched, ethereal guitars, with Vincent's voice towering towards infinite places of memory, mending lost memories and projecting towards the eternal.

The following title track is another highlight of this album. A dark and slow march, an alienating voice, gloomy and evil in its whispered yet decisive malice, distorted and sharply cutting guitars, are all constituent elements of this hypnotic song, which certainly represents the most aching peak of the whole record, the bottom of the abyss, from which nonetheless one does not emerge, but can only shift towards a more melancholic and less spectral grayness.

"Feel" and "Destiny" are the last two excellent tracks of the album. The first sounds more like a stance, an exhortation to search for something to live for, and even Vincent's voice confirms that here the tones are more autumnal and bearers of some faint hope. The concluding "Destiny" instead sounds like a lullaby, a whispered goodbye before falling asleep weary after the various psychological peregrinations induced by this splendid record.

This album must be experienced. It may not be to everyone's taste, but those who manage to tune in with it will be struck and won't be able to live without it. An example of eclecticism, creativity, and sentiment that every band should follow.

A small note: the remastered version contains four extra tracks, three of which are covers of three tracks contained on the amazing "The Final Cut" by Pink Floyd (or rather, Roger Waters). It's incredible how Vincent's voice resembles that of Roger's, not so much in timbre but in tone, recited, commemorative, and polemic typical of the Floyd bassist. Definitely noteworthy is the fantastic "Your Possible Pasts," truly a well-executed cover that I'm sure Waters would have appreciated. Lastly, a note of merit also for the reinterpretation of "Better Off Dead" by Bad Religion, redone with dual vocals (male and female) and made even more touching and unsettling, a real surprise.