When you’ve got Duncan Patterson helming a project called Alternative 4, your expectations start to gain altitude. In a way, the band’s debut CD The Brink meets the premise as it takes the general tone and sound from Anathema’s Alternative 4―on which Patterson appeared (for the last time)―and flies away with it. Instead of flying into the stratosphere, the whole thing is forced into a violent nosedive by a surface-to-air missile. For the first time in a while, I’m looking at an album that I just can’t understand. At all. 

But I did I figure at least one way to look at it.

Alternative 4’s The Brink (kind of) continues from where Anathema’s Alternative 4 left off; it has the same sound, similar production and overall ambiance. It’s like Patterson wanted to take a new look at the Alternative 4 and re-imagine what it could have been had it concentrated more on the psychotic atmosphere rather than limn in sorrow. Just listen to “Underlooked”, “The Dumbing Down” or even “Automata”. It’s all there and if you don’t see it, I’ll give you a hint. Compare the songs “Underlooked” and “Alternative 4”.

Unfortunately, there are a few things that hinder that theory from being completely bulletproof as some of the material is ‘completely’ original. Take “Alternate”, for example. It’s a theatrical piece ripped straight from some Savatage concept album — minus the guitar virtuosity. Or the singer/songwriter-like ballad “Still Waters” that wouldn’t be out of place at a campfire singalong.

I almost said ‘most of the material’, but that would have been me stepping on a tricky landmine. This is where I adjust the original thesis and throw in some CSI-level guesswork. Sure, most of the tracks are indeed original, new pieces but–cue to The Who playing–played through a strong Alternative 4-autotune filter. YEEEAH!

In fact. There’s more to it. The original tracks are actually Duncan taking all the different tracks from the Anathema album and somehow forcing them into the skins of the other — adding a personal touch to it all. The first proper track, “False Light”, spills the beans during the first seven minutes of the album. Especially when you listen to it after you’ve listened to Alternative 4 first. Whereas “Lost Control” starts with the word ‘life’, “False Light” steps in a similar manner but instead with the word ‘light’. Oh my! Sure, there’s a different emphasis and the mood isn’t exactly the same either, but the motif is there as the rest of the track is built from various other Duncan-era Anathema clips — only mirrored in a way to not make it as apparent. Again, pay attention to how the tracks tend to build up and materialize. It’s like some deviant cannibal playing dress up after carefully skinning his victims for props.

The Brink makes me paranoid. There’s no denying it. As if there’s a conspiracy going on when everything truly is evident, but still enough off-key to get you off balance. But as my daily medicine takes the control of me, looking at Alternative 4’s album in a more serious, level-headed manner makes it clear: it’s not a very inspired listen — especially to someone who has somewhat strong connection with the original (Alternative 4 album). It’s very hard to look at The Brink as its own, unique entity. Maybe with time.

There are moments where the band is clearly onto something, like the pious ambient track “Autonoma”. The problem is these moments aren’t really connected to one another. They’re out of place and the whole thing never seems to go or get anywhere. Whereas the original Patterson’s Alternative 4 had a strong, fulfilling narrative (i.e., proper dynamics in place), The Brink is a flatline. It’s missing those few explosive set pieces that would make the 60-minutes it lasts a whole a lot more interesting and gratifying to listen to. Ultimately, the album tries too much but doesn’t actually do enough. The only emotion it truly evokes is a slight confusion; despite multiple listens and approaches, I just don’t get what Duncan Patterson (&co) is ultimately trying to achieve with The Brink. Thus, all I’m really left with is this goddamned review.

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