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| Soundcloud |
 The new release from Anathema - acoustic re-interpretations of classic tracksKscope is pleased to announce Falling Deeper, the new, fully orchestral album from Anathema. Falling Deeper continues where the acclaimed 2008 album Hindsight left off. The album features brand new arrangements of songs and haunting melodies from the band’s earliest days as pioneers of heavy music. This is an album which will excite old and new Anathema fans equally. A fresh musical and lyrical approach has transformed songs such as Crestfallen, Kingdom, Sunset of Age and Everwake, which features the incredible voice of Anneke van Giersbergen. The record has been produced by Daniel Cavanagh and was recorded and mixed by Andrea Wright at the legendary Parr St Studios, Liverpool (where the likes of Elbow, Coldplay and Echo and the Bunnymen have also recorded albums). The orchestral arrangements are from Dave Stewart who worked so successfully with Anathema on We’re Here Because We’re Here. Released in 2010, We’re Here Because We’re Here was awarded Classic Rock’s Prog 'Album of the Year' as well as a host of other accolades....full text |
| Sputnikmusic |
| In 2008, Anathema released an album called Hindsight. Essentially, it was a collection of reworked songs from the band’s previous albums but it was also far more than that. It was more simply due to the amount of time and effort that went into presenting the songs under a new light while still staying true to the originals – to the point that some of the recreations actually rivaled their (already excellent) original counterparts. The only real problem was that the band completely ignored the songs from their early doom releases, but it seemed as though they were ready to correct that issue with the release of Falling Deeper. Unfortunately, the problem isn’t going to feel corrected after listening to Falling Deeper. Despite what has been said, Falling Deeper isn’t nearly the masterful collection of recreations that its sister album was. Barring a few exceptions, Falling Deeper feels more like a rushed and lazy attempt at silencing all of the people that had wished for a few older doom songs on the Hindsight album and nothing more. One of the best aspects of Hindsight was its ability to re-create the older songs while still staying true to the originals, but that just doesn’t happen very often here. Instead, a majority of these songs are (largely) instrumental pieces that latch onto one or two melodies from the original track and recreate them with hardly more than a piano, the occasional guitar and subtle orchestral backing arrangements. So, instead of a new, more atmospheric version of the slow-building, ten-minute “We, the Gods”, we are presented with a three-minute instrumental version that has been distilled down to a single melody reproduced by a piano and a subtle synth undercurrent. This isn’t an isolated occurrence, either. The seven minute “Crestfallen” is whittled down to three minutes, “Sleep in Sanity” also loses three minutes from its original runtime and the list goes on. On the flipside, they’ve also extended the lengths of a few songs that really didn’t need it. The two-minute “J’ai Fait Une Promesse” was perfect as it was with its acoustic guitar and female-sung French lyrics, and definitely didn’t need to have its runtime doubled while stripping it of all vocals. Even more confusing was the band’s decision to take the underwhelming “Alone…” and extend it from a boring four minute piece to an oppressively long seven minute track that somehow manages to bring nothing new to the table....full text |
| Slantmagazine |
| There's not a whole lot about Cymbals Eat Guitars that makes sense. Take their name, for example: It's clear within just a few moments of listening to the band's music that they obviously favor putting stringed instruments front and center over percussion. Even more so than on their debut, Why There Are Mountains, the Lou Reed quote that the Staten Island indie rockers cropped and borrowed for their moniker seems more of an inside joke than anything else. Before delving into Cymbals Eat Guitars's sophomore effort, the first thing I thought was, "Why didn't they just call it Alien Lenses?" I initially suspected it was because it sounds a bit too similar to Guided By Voices's Alien Lanes, which was, ironically, that band's final LP before Robert Pollard ventured from the lo-fi confines of a garage to a 24-track recording studio, a transition quite similar to Cymbals Eat Guitars's sonic stride from Why There Are Mountains to Lenses Alien. After being barraged with frontman Joseph D'Agostino's endlessly original lyrical structures here, though, it's clear that's where the similarities to Guided By Voices end. In addition to its title, Lenses Alien employs a slightly inverted approach with its song sequencing. "Rifle Eyesight (Proper Name)" is the album's opener, but it should probably be the closing number; at nearly nine minutes, it catapults through a wide range of tempos and dynamic shifts that leaves the listener exhausted. "Shore Points," a fun, lightning-quick tune in the vein of mid-'90s-era Superchunk, would have made a more appropriate starting point, but the fact that it's the second track works as something of an orange-juice chaser to the heavy alcohol chug that is "Rifle Eyesight." The powerful triple threat of "Plainclothes," "Definite Darkness," and "Another Tunguska" highlights just how far the band has come since 2009, lyrically and musically. "Plainclothes" is the album's most cinematic soundscape, relating an enthralling, drug-fueled narrative involving the sudden death of a state trooper and a vigilant escape to a rowdy beach house in Belmar, New Jersey: "Friends fuck each other in the guestroom/I feel the ghost of all the parties still happening/Right on this very spot that I am standing/Kids are blissing in the spare room, light years away." The theme of "I'm here, yet I'm not" is a common one throughout Lenses Alien. Much of it has the feeling of isolation, detailing scenarios from the outside looking in, like an extraterrestrial reporting back to his superiors from Earth....full text |
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