Sep 24, 2013 - The Summit Music Hall
Door Time: 7:00 PM

Day: Tuesday, September 24, 2013
Door Time: 7:00 PM
Age: All Ages
Advance Ticket Price: $20
Day Of Show Price: $22
Buy Tickets

ANATHEMA began their journey as pioneers of melodic heavy music, influencing a myriad of bands to follow them, before outgrowing all genres and limitations as they fearlessly explored new territory and ways to express feelings through sound. Formed in Liverpool in the early 90's, the band's musical vision has continually evolved over the ensuing years while always remaining true to their original goal of creating forward thinking, meaningful, passionate and honest music. With each release they move beyond the boundaries of limited scenes and pigeon holes, creating a complex and emotive atmospheric sound.

Countless world tours have built up a very loyal international fan base and the "Natural Disaster" tour saw them playing hundreds of shows in over 30 countries.

The line-up is really a collective of two families, who were quite simply born to play music. Anathema consists of brothers Vincent, Daniel and Jamie Cavanagh, alongside childhood friends John Douglas and his sister Lee, who is an incredible singer in her own right. The line-up is completed by Les Smith, who beings much in the way of production expertise to the band. There is a deep bond in the group that transcends usual band politics, ego and avarice. They have a shared vision and are about to take the band to a whole new level. Anathema are currently working on an album of brand new material. A multi coloured, multi layered work of unbridled emotion, passion and intensity, it is set to be an album beyond all expectations!

AlcestAlcest - that is music from another world, a world that is real, but that exists beyond ours and cannot be grasped by our senses. A world where all appearances - trees, glades, streams - emit a pearly light and where a faraway and celestial music fills the air like sweet perfume. A world inhabited by infinitely benevolent and protective beings of light, communicating in a wordless 'language' directly from one soul to another. A world where the soul knows neither pain nor sickness nor sorrow, but is filled with a deep peace and an ineffable bliss. A world that lies 'before' and 'after,' 'beside' and 'behind' our world and the awareness of which stills mankind's fears of death.

This world is no dream and no fantasy. Neige, the creative mind of Alcest, knows it - he has experienced it and keeps memories of how it revealed itself to him in the form of esoteric experiences in his early life. Alcest is his medium to come to terms with these memories and to share them with others.

"Les voyages de l'âme" ("The Journeys of the Soul") is Alcest's third album and contains the quintessence of the group's creative work to date. While "Le secret," the debut EP from 2005, was the key to the world of Alcest, "Les voyages ..." unites everything that characterises Alcest in terms of concept and music. While an epic composition such as "Là où naissent les couleurs nouvelles" would have found its place also on "Écailles de lune," "Beings of Light" with its blazing character reminds of the ground-breaking "Le secret." On the other hand, "Autre temps" - the album's first single to which there is also an impressive and visually stunning video clip - is a prime example for the melodic and catchy side of Alcest that initially came to the fore on the band's debut album "Souvenirs d'un autre monde." Something that is common to all of the songs, however, is the predominant feeling of euphoria and bliss, always subtly overshadowed by melancholia and yearning. A feeling akin to that which you experience when you think about the otherworld of Alcest that awaits us all.

Mamiffer (x-Isis)
The process of experiencing a musical composition is like decoding a puzzle. The mind registers the emotional implications within a melody,
the timbre of the instrumentation, the tempo of the music, and the subject matter of lyrics. Listeners then must decipher this relatively complex code and project their own meanings and feelings to that particular pattern of sound. As a culture, we’ve also come to ascribe connotations to formulas and clichés. These are reference points, a context, and a shorthand method of leading the listener to a certain conclusion. Mamiffer exists with little in the way of context. The
musical project, spearheaded by pianist Faith Coloccia, speaks in a new language whose roots are harder to trace. Consequently, the music is intriguingly foreign. A patient listener shouldn’t have any difficulties rendering the deep, vibrant human pulse in the compositions, though a Rosetta stone in the form of the project’s
history and operational tactics will undoubtedly help untangle Mamiffer’s cryptic dialect.

Faith Coloccia’s early work as co-founder of the avant-guerilla sound experimentalists Everlovely Lightningheart was an exercise in re-examining traditional concepts of performance. Shows took place in sewers, art galleries, desert landscapes, and, on rare occasions, scattered about the corners and floor space of rock clubs. The shows were hypnotic, transcendent, and occasionally violent. Recycled scraps
were turned into instruments; instruments were turned into groaning organisms. After the disbanding of Everlovely Lightningheart, Faith began composing new material on piano. Navigating the creative process
as a solo artist, she moved away from her more improvisational past and took a structured approach to her new compositions. The result was Hirror Enniffer, her debut under the moniker Mamiffer. Recruiting an
assortment of musicians from the Seattle area, including drummer Chris Common, bassist Brian Cook, cellist/vocalist Annie Hozoji Matheson-Margullis, guitarists Aaron Turner and Ryan Frederiksen,
Faith took her fractured neo-classical compositions and infused them with ambient electrical hums and a reductionist metal dirge.

Two years later, after splitting her time between the perpetual gray of the Pacific Northwest and the sun-baked deserts of Southern California, Coloccia began the process of drafting up her second
full-length, Mare Decendrii. With co-conspirator Aaron Turner and ongoing collaborator Travis Rommereim on board, Coloccia no longer works under the insular role of a solo artist. Consequently, the material on the follow-up was subjected to heavy scrutiny, with the
songs going through a myriad of metamorphoses over the course of an extended drafting and recording process. For the album, Mamiffer enlisted esoteric mastermind Randall Dunn as engineer and recruited a
bevy of musicians—including Brian Cook,
Don McGreevy, Eyvind Kang, Timba Harris, Moriah Neils, Aaron Harris, Joe Preston, Sera Timms,
Jussi Lehtisalo, Mika Ratto, Jessika Kenney, and Parvaneh Daneshvar--to lend their services. The undertaking was ambitious, and with so many participants, it threatened to overwhelm the core
elements of the material. But the band is quick to note that “a revolving cast of participants allows it to be a freely evolving
entity, something not bound to any one specific formation; the creative freedom inherent in this approach is crucial for Mamiffer to remain alive and relevant in the present moment.” The compositions are
malleable and organic, taking on a multiple forms. A song takes a fixed and permanent shape on record, and assumes a completely different incarnation in the live setting.

Over the course of Mare Dencendrii’s five songs, Mamiffer travels between moments of minimalist tone worship, choral meditations, syncopated funeral marches, elaborate odd-time classical passages, and
deconstructed doom metal. At its core, it’s a melancholic and occasionally vengeful exploration of texture and melody. It’s a sonic journey, a dynamic, living, breathing experience, a labor of love, and
a bold new language.
-Brian Cook

"Maybe I'm getting more and more bitter and twisted with age because these days it's extremely rare for me to hear a contemporary record that sustains my interest throughout and warrants repeated listens. When I do have a chance to really listen to something I usually grab the older classics. However, as jaded as I may be the new Mamiffer album has given me renewed faith, (pardon the pun), in the current state of 'rock'. Why? Simply because this is a jaw-dropping, out-of-nowhere creation where the listener has been given permission to enter a hermetic, personal soundworld that has been painstakingly created with meticulous attention to detail - all built up from Faith Coloccia’s highly individual piano compositions with stunning production from Randall Dunn and string arrangements courtesy of Eyvind Kang. There is something obsessively beautiful about this work that really appeals to me and will undoubtedly appeal to many other people who are willing to really listen."

-Oren Ambarchi, December 2010