Anathema
The Optimist

Much of “Distant Satellites” was too dependent on the previous two albums, but the last four tracks were forward-looking, and I said that they should restart from there... It’s not exactly what they did with this latest work, but they have made a step forward regardless. The fear that Anathema had run out of ideas or had found the definitive path that one chooses at a certain point in their career and never changes again was real, but fortunately, we were somewhat proved wrong.

“The Optimist” is not a sterile copy of the previous albums as feared. After the brighter sound (but probably only on the surface) of the more recent productions, here Anathema returns to darker tones without mimicking their gothic period of the late '90s, adapting everything to what Anathema is today. The final result is something that stands exactly halfway between the Anathema of the late '90s and those of the more recent productions, but also with a look towards the future. The almost pop sensitivity that characterized the latest productions is also diminished, and there's a more pronounced post-rock inflection than ever, as well as electronic inserts, which perhaps could have been explored further. The orchestral arrangements hold strong. The result is an extremely nocturnal and relaxed album, as well as profoundly melancholic.

As I said, I expected the band to further explore what they did in the final part of the previous album, which would have been the right and more natural way to continue the band's evolution; instead, this is limited to only two tracks, among the best on the record: “Leaving It Behind”, where thin electronic loops with a vaguely alternative flavor very similar to the more experimental Radiohead accompany the edgy guitars, and “San Francisco”, a hypnotic and nocturnal instrumental with an incredible electronic crescendo.

And as I mentioned, the influence of post-rock is more pronounced than on previous albums (where it was already peeking through), with most songs characterized by significant crescendos of guitars that start from subtle melodies; but there’s even a track that can be considered 100% part of the genre and that is undoubtedly “Springfield”, with that incredible guitar tremolo in the second half.

Another track that surprised me is “Close Your Eyes” with its slow pace and marked jazzy imprint, complete with double bass and trombone. The final “Back to the Start” is instead the track where the nocturnal and melancholic nature of the album manifests best, also thanks to the gentle vocal lines; it almost seems like a perfect meeting point between old and recent Anathema, a sort of updated “2000 & Gone”. The central “Ghosts” is also a perfect meeting point.

“Endless Ways” and the title track are closer to the brighter sound of the previous albums but properly fulfill their function within the record. “Can’t Let Go” is the most immediate track, but it also plays its part. “Wildfires” may also seem like so-called “minor track” but I’d be careful not to consider it as such, indeed... I challenge anyone to create a track practically built on a single repeated chord, with few variations, managing to make it seem tremendously fitting and poignant, with its clumsy and tense piano...

Apparently, the album is causing some mixed reactions here and there, the most evident proof being the provisional average rating of 3.26 on progarchives, but also some comments heard where someone referred to the album as somewhat “tired”. Personally, I don’t think there’s anything to complain about; the emotion and all the other characteristics that make Anathema appreciated are not lacking at all here. Perhaps there's just a bit of lightening in the melodies, but that’s an old story that began with “We’re Here Because We’re Here”. However, I perceive the feeling that they could have dared a bit more. In the meantime, it won the album of the year award at the Progressive Music Awards (provided that the band can be considered part of this peculiar genre/non-genre, but that’s a separate debate, sometimes without a real foundation), I’d say it’s good as it is.