Liverpool's Anathema onset their career at the start of the 90s as a doom metal group, who would have thought they would profile themselves as one of the best contemporary British rock bands. They have gradually changed their soundscape over the past decade, and never cared about reactions. The band's tenth studio album The Optimist is their first conceptual material, and it sucks you in easily primary because it relies heavily on the brilliant album A Fine Day To Exit from 2001. To be precise, it references the theme of the title track. A Fine Day To Exit represented a milestone in Anathema's career, as this is when they broke up with metal. The track was perceived as a pathetic portrait of suicide attempt. Nonetheless, it stands as their most important song.
The Optimist has no music similarities to A Fine Day To Exit, only lyrical congruence. Primary, Anathema continues in the same direction they took with 2014 predecessor Distant Satellites. Contrary to that record, The Optimist does not suffer from recycled ideas, and the electronic segments are executed more skillfully. The new songs do not give out the impression of tasteless experiment as it was the case with Distant Satellites.
The album is opened by 32.63n117.14w (coordinates of Silver Strand beach, the location where the optimist, main protagonist, was seen for the very last time). It's an introduction in which you can clearly hear a man coming out of the sea and walking on sand. Then he gets in the car, turns on the radio and starts his journey. Uncompromising Leaving It Behind is supported by severe dose of electronic and it reveals crystally polished production, sharp distorted guitars, powerful vocal of Vincent Cavanagh and insane drum mastery of John Douglas. Anathema let go of their inhibitions here, let loose all of their sentimentality and dived into the unknown.
Soon, piano overtakes and leads the rest of the album. Endless Way disrupts the monotony of sentimentality, but obtains emotional quality and never steps into pretentious emotional performance. The similar applies to title track. Powerful melodies and shiny rhythm bolstered by strings make titl track one of the band's most mature creations.
Lyrics are minimalistic, with mainly repetitive verses. This is the most obvious on Springfield, where minimalistic approach reached its pinnacle, and the impression of dislocated disorientation comes through. Less is more here. Close Your Eyes surprises with jazz elements, while mediocre melody of Can't Let Go gets saved by cool lyrics.
Welcome back, Anathema.
