Anathema
The Optimist

I had never purchased an Anathema album "blindly" before doing so for "Distant Satellites." Okay, I can already hear your laughter.

In fact, that album never really grabbed me, too disjointed (although the title should have tipped me off, darn it), too "new" and/or too similar to the previous one. Basically, a bit of a mess; I later read that many reached the same conclusion as me, you see, small consolation. And yes, the initial reviews had been quite positive, as they largely are today for this "The Optimist."

But this time I told myself: "No, dear Cavanagh brothers, this time you won't fool me, I'll listen to you first on streaming" (wonders of technology) also because browsing various blogs the opinions often differed from the "official" criticism.

So, not without trepidation, I start listening, one of those good listens (streaming quality permitting) with headphones and closed eyes, no brandy since it was indeed Saturday, but in the early afternoon, and... first surprise, despite the relaxation, the heat, and the late siesta hour, I don't fall asleep as some blog predicted. There are certainly many soft moments, but also decisive electric turns, perhaps to render the urban and U.S.A setting of the story. And well, I like the album, it really grabs me, right from the first listen. I assure you that for me it is quite rare, even though months ago it already happened with the latest by Tim Bowness... okay, I'm getting old.

As all those interested in "The Optimist" already know, it's a concept album that tells us how the would-be suicide (perhaps) from “A Fine Day to Exit” (2001!) reconsidered it and decided to retrace his steps; written like this it seems silly, but told with simple yet effective lyrics and the enveloping music of Anathema, it becomes a touching experience; every track, every sound has its place and even "Springfield," a piece that in the preview video weeks ago didn't tell me much, when inserted here at the right moment assumes a purpose; on the other hand, it's common with many concepts, even the most celebrated ones, to contain tracks that when taken out of context struggle to stand on their own.

But even more than a concept, "The Optimist" is an album of atmospheric rock, a definition often used when talking about Anathema, but which in this case is truer, more rooted, more permeating than before. The result is that to appreciate the work you need the right state of mind, the right "mood" (forgive the anglicism), I'd even dare to say being the right person based on the experiences life has presented to you. By this, I don’t mean it can only be appreciated by those who have attempted to end their life, it would be a huge limitation, but that it deals with adult emotions to which anyone can be more or less sensitive.

So, if we really want to find a "flaw," it is that sonically it has little to do with "A Fine Day to Exit," which might certainly confuse/disappoint the fans of that album. It's as if the Cavanaghs were more interested in the emotional starting situation that the previous work offered rather than the musical aspect.

Does it resemble a Radiohead album? Yes, maybe, but it's not the first. Are there Floydian echoes? When have they ever been absent since they renounced doom? Is there too much post-rock flavor? I believe this is intentional since they chose Tony Doogan as a producer who, in a sense, is to post-rock what Brian Eno is to ambient. The point is if we start dissecting "The Optimist," we probably won't find much new, but we'll end up losing the sense of the operation, where the whole picture is what truly matters and is the source of emotion and involvement.

In short, you've got it. Even this time, I'll end up paying the tribute to the Cavanaghs, forgiving them for the one paid for the previous album, which in my opinion wasn't entirely deserved; and I'll tell you more, I'll also purchase the multichannel version because if, as I hope, the 5.1 mix is done well, this album will sound like a marvel, provided one is in the right "mood."