Resonance (Anathema album)
Resonance is a compilation album by the British rock band Anathema. It was released in 2001 as the first of two compilation albums featuring best-of as well as unreleased material, this one focusing on the band's softer music, it was followed by Resonance Vol. 2 in 2002
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
Judgement (Anathema album)
Judgement is the fifth album by the British rock band Anathema. It was released on 25 June 1999 through Music for Nations; the first album with Dave Pybus joining the band to replace bassist and co-principle songwriter Duncan Patterson. Danny Cavanagh now taking on a larger share of the songwriting duties to compensate for Patterson's departure, it is the band's first album featuring original drummer John Douglas since his return in 1998. The album peaked #151 on the UK Albums Chart. "One Last Goodbye" is dedicated to Helen Cavanagh, mother of the Cavanagh brothers
Falling Deeper is an album of orchestral re-interpretations from British atmospheric rock band Anathema released on 5 September 2011. The album is a follow-up to 2008's Hindsight, for which the band recorded different versions of their past songs; the album was produced by singer/guitarist Vincent Cavanagh and guitarist and main composer of the band Daniel Cavanagh who defines the record as “a nod to our past and a look to our future all at the same time, with a sound, designed to transport you to the heart of the present moment.” The mixing was made by Andrea Wright at Parr Street Studios in Liverpool. The orchestral arrangements are composed by the band in collaboration with Dave Stewart who worked with Anathema on We're Here Because We're Here; the songs received new musical and vocal arrangements with'feedback' lead guitars centred on a grand piano and a rhythm section. Dutch singer Anneke van Giersbergen sings on "Everwake", a song released on the 1992 EP The Crestfallen, on "... Alone".
Original writers of each songs, below All lyrics written by Darren White. Daniel Cavanagh – guitars Jamie Cavanagh – bass Vincent Cavanagh – vocals, keyboards John Douglas – drums Lee Douglas – vocalsAdditional personnelAnneke van Giersbergen – vocals on "Everwake" and "... Alone"
Weather Systems (Anathema album)
Weather Systems is the ninth album by the British rock band Anathema. It was released on 16 April 2012 in Europe via Kscope and 24 April 2012 in the US via The End Records; the band describes the album as "not background music for parties. The music is written to move the listener"; the album was recorded in Liverpool, North Wales and Oslo, each place significant to Anathema's past and future. The record was produced by band members Vincent Cavanagh and Daniel Cavanagh, as well as Christer-André Cederberg. Recorded and released between the departure of Les Smith and the full-time joining of live member Daniel Cardoso, it is the first album of the band to not feature a full-time keyboardist since Judgement in 1999. On future albums, Cardoso would replace Douglas as the band's primary drummer; the album's official track list was announced on 2 February 2012. Terrorizer noted; the review noted that the songs on Weather Systems are "not instantaneous" as the previous album, but its highlight is the way it decides to ebb from a dreamlike state in songs like'The Beginning And The End' into the huge crescendo of'The Lost Child' and elating release of'Internal Landscapes'." and concluded that "Is it another masterpiece?
Of course it is." In the special edition, both discs come in a limited pressed hardcover digibook like their previous albums: Hindsight, We're Here Because We're Here, Falling Deeper. Kscope store has the standard jewel case edition with the album on CD format and no DVD; the American version of the album comes in a digisleeve. The special edition DVD can only be found on the European pressing directly from Kscope; the DVD features the album in 5.1 surround sound. All tracks written by Daniel Cavanagh, except "The Storm Before the Calm" by John Douglas.'Untouchable Part 1 Digital Single "Untouchable Part 1" – 6:14Untouchable Part 2 Digital Single "Untouchable Part 2" – 5:33 "Untouchable Part 2" – 5:43 "Untouchable Part 2" – 5:43 http://www.anathema.ws/news.cfm Weather Systems review on Prog-Sphere.com
The Silent Enigma
The Silent Enigma is the second album by British rock band Anathema, released on 23 October 1995 through Peaceville Records. The Silent Enigma represents a turning point in Anathema's career and sees the band incorporating more clean vocals and melodic elements, while still retaining the band's early death-doom style; the album was titled Rise Pantheon Dreams, a title used by White for his post-Anathema project The Blood Divine. Where Darren's vocals were more guttural, Vincent's newer style pushed the possibilities for Anathema onwards and upwards, with a scope and breath beyond his years. Lauded by the metal press, the album has since been described by Terrorizer magazine as "one of Anathema's best"; the special edition of the album features two bonus tracks. All songs written by Anathema. A remastered version of The Silent Enigma was released on 2003 by Peaceville Records; the 2-disc package features the entire The Silent Enigma album re-mastered on CD, along with a DVD featuring a live performance recorded in Kraków, Poland, in March 1996, as well as promotional videos for the tracks "Sweet Tears", "Mine Is Yours to Drown In", "The Silent Enigma", "Hope".
Promotional Videos"Sweet Tears" "Mine Is Yours" "The Silent Enigma" "Hope"Live"Intro" "Restless Oblivion" "Shroud of Frost" "We the Gods" "Sunset of Age" "Mine Is Yours" "Sleepless" "The Silent Enigma" "A Dying Wish"
Keith Leslie Smith is a former British keyboardist, once in the bands Anathema and Cradle of Filth. He was born in 1967 in the United Kingdom, England, he did session work on keyboards for the British band Anathema on their album Eternity, released in 1996. During his time in Cradle of Filth, his stage persona consisted of wearing a custom Vicar Priest top, black leather trousers and goth make-up, he played keyboards in two of Cradle's releases: Cruelty and the Beast and From the Cradle to Enslave. Les was a session musician of the band Tourettes. Post-Cradle of Filth, he accused vocalist Dani Filth of considering it his own solo project. However, they are on good terms these days. Les had a tenure with Anathema, but on their official site it was announced Les quit on 13 September 2011 due to "creative and musical differences". Eternity Pressure A Fine Day to Exit programming & engineering as "Les" A Natural Disaster programming & engineering "Les" Were You There? production & mixing A Moment in Time Hindsight engineering & mixing We're Here Because We're Here Everything Dreaming Light Cruelty and the Beast Twisted Nails of Faith PanDaemonAeon From the Cradle to Enslave Out There Somewhere & Let's Get This Mother Outta Here – Ship of Fools Subvert – Pain Control In the Big Ending...
– The Clan Destined Blood on Snow – Eastern Front