Post by Zedd Squared on Sept 23, 2019 14:07:06 GMT
Voice type: Tenor
Vocal range: B1-A5
High notes:
A5 ('Comfortably Numb" live)
D5 ("Re-Connect")
C♯5 ("Restless Oblivion", "The Lost Child")
C5 ("Anathema", "Feel", "Judgement", "Pulled Under at 2000 Metres a Second", "The Beginning and the End", "The Lost Child")
B4 ("A Simple Mistake", "Suicide Veil", "The Lost Song (Part 1)", "Your Possible Pasts")
B♭4 ("Anathema", "Ariel", "Dusk (Dark is Descending)", "Looking Outside Inside", "The Beginning and the End", "The Storm Before the Calm", "Universal", "Untouchable, Part 1", "Wildfires")
A4 ("A Dying Wish", "Closer", "Comfortably Numb" live, "Eternity, Part I", "Hope", "Looking Outside Inside", "Nocturnal Emission", "Panic", "Suicide Veil", "Thin Air", "Underworld", "Wildfires")
G♯4 ("Angels Walk Among Us", "Distant Satellites", "Dreaming Light", "Dusk (Dark is Descending)", "Internal Landscapes", "Leaving It Behind", "Pulled Under at 2000 Metres a Second", "Suicide Veil", "Summernight Horizon", "Sunlight", "Take Shelter", "The Lost Song (Parts 1 & 3)", "The Storm Before the Calm", "Untouchable, Part 1")
G4 ("Ariel", "Balance", "Eternity, Part I", "Everything", "Flying", "Hope", "Leave No Trace", "Looking Outside Inside", "Re-Connect", "Shroud of Frost", "The Beloved", "The Gathering of the Clouds", "The Storm Before the Calm", "Universal", "Your Possible Pasts")
F♯4 ("A Simple Mistake", "Angels Walk Among Us", "Balance", "Distant Satellites", "Dreaming Light", "Empty", "Eternity, Part III", "Get Off Get Out", "Leave No Trace", "One Last Goodbye", "Re-Connect", "Shroud of Frost", "Take Shelter", "The Lost Song (Parts 1 & 3)", "The Optimist", "Thin Air")
F4 ("A Fine Day to Exit", "Alternative 4", "Emotional Winter", "Eternity, Part I", "Everything", "Flying", "Harmonium", "In Celebration of Life", "Leaving It Behind", "Panic", "Summernight Horizon", "The Beginning and the End (might not have to count)")
E4 ("Angelica", "Back to the Start", "Balance", "Deep", "Destiny", "Emotional Winter", "Eternity, Part I", "In Celebration of Life", "Leave No Trace", "Lost Control", "Make It Right (F.F.S.)", "Pitiless", "Radiance", "Release", "The Beloved", "The Optimist", "Wings of God")
Low notes:
E♭3 ("Angels Walk Among Us", "The Lost Child", "The Lost Song (Part 3)", "The Storm Before the Calm", "Untouchable (Both Parts)")
D3 ("Anyone, Anywhere", "Don't Look Too Far", "Judgement", "One of the Few", "Panic", "Pressure", "Pulled Under at 2000 Metres a Second", "Regret", "The Beloved")
C♯3 ("Don't Look Too Far", "Looking Outside Inside")
C3 ("Alternative 4", "Emotional Winter", "Feel", "Goodbye Cruel World", "Judgement", "Lost Control", "Panic", "Pulled Under at 2000 Metres a Second")
B2 ("Comfortably Numb" live, "Cries on the Wind", "Empty", "Eternity, Part III", "Forgotten Hopes", "Hope", "Looking Outside Inside", "Lost Control", "Make It Right (F.F.S.)", "One Last Goodbye", "Pressure", "Radiance", "Re-Connect", "Regret")
B♭2 ("Alternative 4", "Feel", "Get Off Get Out", "Shroud of False", "Temporary Peace")
A2 ("Alternative 4", "Cries on the Wind", "Empty", "Eternity, Part I", "One of the Few", "Re-Connect", "Regret", "The Silent Enigma")
G♯2 ("Back to the Start", "Cerulean Twilight", "Don't Look Too Far", "Suicide Veil")
G2 ("A Dying Wish", "Your Possible Pasts")
F♯2 ("Angelica", "Far Away", "Suicide Veil", "Sunset of Age", "The Beloved")
E2 ("Cerulean Twilight", "Deep", "Pitiless")
E♭2 ("Back to the Start")
D2 ("Sunset of Age")
C♯2 ("Restless Oblivion")
B1 ("Nocturnal Emission")
Vincent Cavanagh has been the definitive voice of Anathema since he first added the role of lead singer to his palette in 1995. Much like the band he fronts, his vocal style has varied considerably over the years. Generally speaking he is most known for his sweet and smooth tenor mid range that he puts to great use in Anathema's consistently emotive music, but he's demonstrated a number of other approaches throughout the years as well. Funnily enough he actually started out his career as a singer with a style and delivery of an almost baritone nature with dark lows, grit, and even harsh screams at times, only to eventually give way to the full blown soaring tenor he has become since the We're Here Because We're Here album. This is especially aided by his considerable increase in high range belting stamina, which I imagine we'll only be seeing more and more of in years to come.
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*Underlines mark notes in backing vocals or otherwise obscured in the song mix.
*Green marks notably distorted and/or screamed notes.
*Blue marks disconnected falsetto notes.
*Grey marks solidly pitched but heavily fryish notes.
*Italics marks notes non-sung notes.