A FINE DAY TO EXIT

Going into an Anathema album, one can be assured of an emotionally moving, deeply introspective listening experience. Masters of self-analysis through sonic expression, Anathema write songs/albums that serve as soundtracks to a wide range of emotional landscapes. With the release of their sixth full-length recording, we discover the band moving even further away from their metal roots, while merging their familiar Pink Floyd inspirations with the sounds of indie/post/art rock acts such as Radiohead. In fact, this is as far from the band's death/doom metal roots as they have ever been. But that should really be no surprise to longtime followers of the U.K. troupe, as each passing album has been leading up to this very moment.

It is evident from the first glance at the initially head-shaking album cover that there is a conscious attempt to break into new sonic territories. But in grand Anathema tradition, it is this very image that reflects the core of what A Fine Day To Exit is about. Tranquil waters meeting the shore viewed from the driver's seat of a vehicle, complete with a family photo, cell phone (one missed call), and crumpled soda can decorating the dashboard, perfectly symbolizes the desperate need we all feel to escape from the loud chaos of day-to-day life for a sense of inner-peace and harmony. But to what extreme do we go to achieve this serenity? Is it a "Temporary Peace" we long for? How much does the hectic pace of this world have to wear us down before we take the plunge into a state of (possible) permanent tranquility? Anathema seem to have purposely left this open to the listener's interpretation.

Album opener "Pressure" marches along at a piano-punctuated, slow to mid-paced current, with a chorus line stating "No matter where you go you won't get away from me..". It's a coming to terms that no matter who we are, or what our position in this world is, we can never escape from ourselves. We may find temporary getaways through whichever medium we choose, but we always have to return. Those demons that haunt us, even through the closets in our minds we attempt to shut them in, are forever present to remind us of who we really are. Though a strong opening track for the album, there is a sense of hesitation in the delivery of this piece that is initially a bit worrisome. Indeed, the delivery of these constructions is not as emotionally overwhelming as it has been on past efforts. There is certainly not an emotional vacancy at the heart of these songs, but things are a bit more restrained this time out. The outbursts are reserved for certain moments within a track, and usually delivered in a more subtle fashion than we might be used to from this band.

One such moment can be found in "Release". Opening with cleanly picked acoustics, and featuring some beautifully phrased vocal melodies, the track explodes into rise and fall dynamics of emotional tidal waves, before its closing clean guitar notes descend into "Looking Outside Inside". Ever masters of weighty build-ups that climax into soaring passionate waterfalls of glory, Anathema solidify themselves as fantastically powerful songwriters with these compositions. In "Looking Outside Inside", feelings of detachment from all that surrounds us are explored. We've all experienced those moments when we feel utterly alone and separate from all and everything that is moving so fast around us in every direction. Searching for something to hold on to.to believe in.

'.too much is coming through someone please tell me what to do."

The desperation in Vincent's voice mirrors the turmoil of this experience. Cascading from fading embers into a pool of brief distortion, "Leave No Trace" settles down into pleasant tones and serene melodies. Again, a bit apprehensive in approach, until the closing moments when Vincent's pleading vocalizations are haunted by the background cries of "No Future.No Warning". This is as classic Anathema moment and one of the highlights of the album. Lost in a world sick with disillusion and deceit, we lose sight of a deeper meaning. Searching high and low for something to hold onto, pleading for someone to hear us.We need things.

In a world of justice, "Underworld" would be a sure "hit" for the band, with its emo-rock styled fashion and big, powerful chorus ("This feeling is over me."). But there is no justice in the world, so it will merely stand as another highlight in the band's illustrious career. When the psychedelic strains of "Barriers" set in, you know you are in for a classic introspective Anathema moment. As is often the case with this band, the "mellowest" moments on an album are usually the "heaviest", and "Barriers" is no exception. With vocals shared by guitarist Daniel and the angel-voiced Lee Douglas, it poses the question "How did we get here?". In an age when we have made great advancements to become more "connected", how is it we often feel so disconnected?

A quick change of pace is delivered in "Panic", easily the most rocking song on offer. The quick rhythm and verse delivery catches the listener off guard, while the Cavanagh brothers sculpt a seemingly nonsensical image through their vocal tirades. But we know better. A stunning chorus melody and some great, quick fills by drummer John Douglas make this an enjoyable (fun Anathema?) ride through the chaotic confusion and daily blur of life. But perhaps the most significant moment of this piece comes at its end, when the tranquil clean guitar melody grabs you from the spinning cycle and places you in a silent meadow, allowing you to feel nothing but the warmth of the shining sun.

Anathema are all about atmosphere and feeling, and the deeply penetrating title track displays both aspects to stunning effect. The haunting atmosphere that forms the foundation of the first two verse/chorus sections builds climactically, making this a great exercise in peak-and-valley dynamics. When there is no one left to rely on, when it seems that we are alone in our alienation, we turn to ourselves to try and sort it all out. It's the relation between lines like ".no longer have the will to survive." and "You've got to face it head on.cause this ain't right.." If you close your eyes to this one, you may feel like you are the one sitting in that very car watching the shore. Talking to yourself.trying to make some sense of it.

.But those waves are calling. You can hear them as they usher in the brooding intro to "Temporary Peace". More than just a song, this is a clear example of how music can be more than just music. It takes you out of yourself. It can overwhelm your senses and embrace your very soul. The dark mood switches to intoxicating serenity as Vincent, together with Lee Douglas, beautifully expresses words of sincerity and realization.

"There's so many, many thoughts as I try to go to sleep but with you I start to feel a sort of temporary peace as we drift in and out."

The closing moments of this song are paralyzing, breathtaking beauty. This tranquil harmony in sonic form conveys the grasp of just a moment's peace. While the final acoustic strings are picked, the waves roll on, effectively ending a thoroughly moving listening experience.

As compelling an album as this is, it does not rise above its predecessor, Judgement, which is this band's crowning achievement. It also feels uncomfortable placing it above their 1996 effort Eternity. The more restrained emotional expressions and the lack of lead guitar work from the unparalleled Daniel Cavanagh are initially a bit disappointing. Though the question of whether or not these aspects would be appropriate for this material or not is valid. But this aside, A Fine Day To Exit stands as a fantastic effort. Anathema don't just write albums, they construct experiences. They continuously release stunning works of sonic self-realization and awareness, questioning the world around us, digging deep within for a truer meaning. They're just aren't very many bands producing such emotionally challenging, thought provoking music as Anathema.