A Glimpse Of Possible Endings (Vinyl)

SKU: PLP2019
Label:
Pancromatic
Category:
Post Progressive
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"Necromonkey is drummer Mattias Olsson, formerly of Änglagård and keyboardist David Lundberg of Gösta Berlings Saga. Their debut album Necroplex was released in 2013. It didn't take long for their second A Glimpse Of Possible Endings and that's a good thing for prog fans as this one is a beauty.

First of all it needs to be said that Necromonkey do not make commercial sounding progressive rock. What they do make is intelligent prog with a heavy helping of electronics and sound effects that is strangely addictive and surprisingly accessible if you give it half a chance. If there was one album I have heard so far this year that is 'a grower' this is it.

The album begins with "There Seem To Be Knifestains In Your Blood" with its Mediterranean-like guitar work and cool Mellotron. This is music to just sit back to and let it seep into your consciousness. You really need to listen closely to hear all the nuances and subtleties that are slowly revealed. With "The Sheltering Waters" I hear a little King Crimson, Radiohead and perhaps a bit of Steven Wilson. It's a tranquil beginning filled with Chapman Stick, courtesy of Rob Martino, and what I presume to be baritone guitar. The song builds slowly and the guitar work gets fuzzier until an hypnotic rhythmic groove reels the listener in. "The Counterfeit Pedestrian" is a short piano led number with interesting electronics followed by the fifteen minute long title track. Quiet interludes of xylophone and percussion, slow musical builds, spellbinding electronic effects and dramatic symphonic textures are just some of the possible descriptors attached to this song. The music flows beautifully from beginning to end, not stitched together the way some longer songs tend to be. The album ends with "The Worst Is Behind Us", a song that takes its time to build but that's the beauty of this album. The lush Mellotron violins adds a symphonic dimension to the overall sound.
A Glimpse of Possible Endings is an exquisite musical journey of rich sonic textures, clever musical builds and sweeping symphonics; an aural soundscape that just needs to be heard. Enough said." - Sea Of Tranquility

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This time around, the story upon which the album is an early twentieth century fable about a man who notices that whenever the human race worships a god, they are worshipping stone, in some form – the god seems to be chased by his followers into stone, never to return, hence explaining why God seems to have become incommunicado. Consumed by this idea, and by the notion that physics provides a means of projecting the movement of everything in the universe into the past or future, the man builds a machine to calculate the past and future, a machine which he christens Molok. As the machine swiftly becomes self-aware, the man realises that his work may expose things that are best left unknown…Molok is perhaps not as bold and uncompromising in its approach as the band’s previous album Demon was; but then, nine albums into their career, this is a band who no longer have anything to prove. 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  • Standard edition comes (at the moment) with a slipcase "o" card wrapper."It’s been quite a past few years for the incredible Anathema. Honors have been bestowed upon them, they’ve released an instant classic album in “Weather Systems”, and last year they released one of the best live concert films I’ve ever seen, “Universal”. Anathema is on top of the world, and they are only getting bigger. With all of this on their shoulders, they approach the world once again with their new album, “Distant Satellites”, a fitting name for a massive album. Again, with all of their recent success creating huge expectations, can this band meet such critical reception? Needless to say, Vincent Cavanagh on vocals, Danny Cavanagh on guitar, Jamie Cavanagh on bass, John Douglas on percussion, Daniel Cardoso on drums, and Lee Douglas with her wonderful vocals were all up to the challenge.“Distant Satellites” is a very different album from “Weather Systems”, or anything else they’ve done, for that matter. It is different, yet somehow instantly familiar. It includes everything that makes them Anathema, but adds new and exciting elements to their already excellent formula. If you’ve never heard Anathema, their formula (in their last few albums, anyways) includes soaring guitars, amazingly catchy melodies, spiritual lyrics, and emotional flow both vocally and structurally. They are the masters of melody, and they remain complex and progressive even while being simple and accessible. They are truly masters of their craft.This new album, then, is no different in those terms. The melodies return in force, such as the serene beauty of “The Lost Song” parts 1-3. And, yet, there is something different here. The melodic lines are somewhat more complex, less in-your-face, and more organic. This especially shows in the song lengths, most of them being over five minutes. This allows for more growth and more progression. Indeed, then, the melodies on “Distant Satellites”, while not being as instantly lovable or recognizable, are certainly more difficult and possibly will have a longer “shelf life” in my mind. Yes, the orchestrations seem to be lower key, as well, allowing the vocalists to express themselves more personally then ever.There are other improvements, too. I feel that the musicianship is more fervent and on a higher plateau of difficulty than Anathema has tried. Drummer John Douglas, especially, plays amazingly well from start to finish, accenting the music with awesome pounding and fills. The rest of the band are at their peak, too, with Vincent and Lee being especially great with emotional and meaningful vocal performances.“Distant Satellites” is different in more meaningful ways, too. Utilizing post-rock/metal structures is nothing new for Anathema, but they really do perfect them here, as on “Dusk”, a dark, climactic song. Yet, there is a sense of continuity between tracks, too. This is obviously the case between the three parts of “The Lost Song”, but it’s also apparent throughout the album, as if Anathema is telling us a story, convincing us of our true selves and our connection with the universe and with each other.This album is wonderful in the first half, but my excitement reached new heights in the second half. Anathema has taken it upon themselves to change things up a bit. They wanted to progress their sound, but make it all seem so natural. So, in the second half, the album climaxes with one of the best songs, simply called “Anathema”. But then, we are thrown for a loop somewhat, as “You’re Not Alone” features a hefty portion of electronic vibe. It’s great, but the best is still to come.Next, “Firelight”, a darkly ethereal instrumental track that is completely electronic, is thrust upon us, and is followed up by what may possibly be the best song Anathema has ever produced, “Distant Satellites”. This track combines everything that has ever made Anathema great: soaring melodies, climactic structure, gentle spirituality, amazing vocals, and now an electronic beat that is both complex and catchy. Vibrant, mesmerizing, and pure, this track elates me every time I hear it. It takes this album, and my heart, to new heights. The album finishes with a gentle ballad that just seems so fitting, yet it still has the strong electronic influence.So, is “Distant Satellites” a winner? In every way! Is it their best album? I don’t know; it has the potential, but it might take time, just like “Weather Systems” did. What I can tell you is that this new album is more mature, more progressive, more interesting and eclectic, and less formulaic then anything Anathema has crafted yet. It does sacrifice some accessibility and some instant likability for these things, but I respect their decision massively, and I fully expect to see “Distant Satellites” at the tops of many lists at the end of 2014." - Progulator
    $9.00
  • ANATHEMA, one of the U.K.'s most cherished and critically acclaimed rock bands, will release a live Blu-ray/audio collection titled "A Sort Of Homecoming" on October 30 via Kscope. Directed by Lasse Hoile (Steven Wilson, KATATONIA, OPETH), "A Sort Of Homecoming" is a stunning concert film of ANATHEMA's homecoming show on March 7, 2015 in the spectacular setting of the Liverpool Cathedral. The concert was described by Prog magazine as "a once-in-a-lifetime experience that words can barely do justice.""I'm really happy that this night in particular has been preserved," commented ANATHEMA guitarist/vocalist Vincent Cavanagh. "As anyone from Liverpool will tell you, to be given the chance to play the Anglican Cathedral is monumental and a huge honor. The place is absolutely huge. Just look at the cover, it was like doing a gig in Erebor!"Having previously worked with ANATHEMA on the acclaimed "Universal" concert film, Lasse Hoile captured the 100-minute acoustic set in high definition against the sensational backdrop of Liverpool Cathedral. Featuring 15 songs selected from the albums "Distant Satellites", "Weather Systems", "We're Here Because We're Here", "A Natural Disaster" and "Alternative 4", the "Anathema Acoustic" trio of Daniel Cavanagh, Vincent Cavanagh and Lee Douglas were joined by rhythm section John Douglas and Jamie Cavanagh, alongside their very talented close friend David Wesling on cello who also played on "Hindsight" (2009) and "A Moment In Time" (2006). For this exclusive performance, the band was also joined by the renowned violinist Anna Phoebe on a haunting rendition of "Anathema". The audio has been produced and mixed by Christer-André Cederberg who worked on "Distant Satellites", "Universal" and "Weather Systems", with the cover and booklet artwork featuring the stunning photography from the show and behind the scenes by longtime collaborator Caroline Traitler. This is the first ANATHEMA live release to feature a 5.1 audio mix, engineered by Bruce Soord.
    $14.00
  • CD/DVD in a digibook.  The DVD is the complete show and the CD maxxes out due to the time limitations."In May 2012 Anathema released Weather Systems, the most acclaimed and successful album of a career that has spanned over two decades. The album scored high in numerous critics end of year polls around the world and cemented their reputation as one of the most exciting and progressive bands around. Following the release of the album, the band embarked on a lengthy world tour. The European leg of the tour opened with a triumphant one-off show at the ancient Roman theatre of Philippopolis with the Plovdiv Philharmonic Orchestra in September 2012. Directed by celebrated filmmaker Lasse Hoile, Universal captures the magic of the event ."
    $17.00