Anathema - Pentecost III
The album artwork is a 1891 painting by Frederic Leighton called "Perseus and Andromeda".
https://en.wikipedia.org/wiki/Perseus_and_Andromeda_(Leighton)
#Peaceville #anathema #metal #90sMetal #doomMetal #90sMusic #PeacevilleRecords
"Maybe I always #GNU
My fragile dreams would be broken
For you"
#Anathema #RockProgresivo #progressiverock #progressive #progrock #progrockmusic #annekevangiersbergen
https://song.link/y/8O6iePmspaM
🕯️ 🌑 Anathema - One Last Goodbye (Album: Hindsight)
⏱️ Durée: 6:03
🎧 #Anathema #OneLastGoodbye #Gothic #DoomMetal #NowPlaying
Novembre – Words of Indigo Review
By Owlswald
Melancholic is the word that best describes the atmospheric sound of Italy’s Novembre. Existing in the dark corners of doom and death metal since their origins as Catacomb in 1990, the group—spearheaded by brothers Carmelo and Giuseppe Orlando—adopted the name Novembre in 1993, spending over three decades fusing their emotive sound of metal aggression and classical composure. Despite being largely underrated, their output includes the acclaimed cornerstone, Novembrine Waltz (2001), and the progressively leaning Materia (2006) and The Blue (2007). Following a prolonged hiatus—and the crucial departure of Giuseppe Orlando—2016’s URSA provided proof of life. While the album had enough trademark characteristics to appease many (like Grymm), it failed to impress me, raising my fears that the Novembre I once loved was gone. The burden of proof now rests on their ninth LP, Words of Indigo, to prove these longstanding veterans still possess their romantic magic.
If you liked URSA, it’s likely you will love Words of Indigo. Despite the nine-year break and additional lineup shifts,1 fresh blood has instilled a dynamism and richness that was missing on URSA. Novembre’s outstanding musicianship explores territories both old and new, delivering phenomenal guitar leads with the group’s familiar romantic passages. Buttery, soothing textures and serene melodies are often undercut by moments of calculated aggression. These elements interlace death, power, rock and doom to build a sonic architecture of musical contrast, constantly ebbing and flowing between tranquil plateaus, cinematic sweeps and energetic torrents. Carmelo Orlando’s mumbling vocals remain prevalent, though they frequently adopt a darker and heavier identity, his blackened rasps matching Novembre’s waves of death metal aggression. Among the rich instrumental additions of piano (“Statua”), saxophone (“Your Holocene”), church bells (“Chisea dell’alba”) and acoustic guitar (“Intervallo”), Words of Indigo evokes an Enslaved-meets-Anathema synthesis, containing considerable depth and a classic sensibility that pays homage to their Italian heritage.
Driven by gloomy, foreboding melodies juxtaposed with transcendent bridges of beauty and serenity, Words of Indigo is a complex emotional landscape, dynamic and rich in its sculpting. “Statua” washes the listener in a sea of layered, solemn progressive tones before its gorgeous, piano-driven end grants a necessary homecoming. “Neptunian Hearts” balances black intensity with beautiful resolving melodies—including one of the best guitar solos on the album—while “House of Rain” uses a brooding vibe, a midpoint solo and beautiful contributions by Ann-Mari Edvardsen (The 3rd & the Mortal) to fuel its delicate crescendo. Even lengthy instrumental “Ipernotte” shifts rapidly from technical tapping and thundering double-bass to a dystopian, crestfallen tone, its chaotic ending mitigated by a percussive and underutilized flamenco guitar. The combined guitar work of Alessio Erriu, Federico Albanese and Carmelo Orlando is arguably Words of Indigo’s engine. Their leads paint a diversely progressive palette of virtuosic shredding (“Brontide”) and Fallujah-like atmospherics (“Sun Magenta”) to flashy power tapping and bright harmonics (“Your Holocene,” “Brontide”), elevating Novembre’s songwriting to the next level.
Faithful to its roots, Words of Indigo retains some of Novembre’s familiar challenges: a tendency toward sonic conformance and Orlando’s persistent use of his signature mumbling vocal technique. As with URSA, the album suffers a bit from mid-point fatigue, as tracks tend to coalesce toward the center, causing my appetite for the remainder to wane. Though not a deal breaker, Words of Indigo’s track sequencing also struggles, presenting as separate pieces rather than a cohesive whole. Minor production choices, such as the unnecessary fade-out/fade-in ending of “House of Rain,” compound this segmentation. However, Words of Indigo is certainly better paced than its predecessor, with a superior variety of tempos, vocals and instrumental additions that help keep the songwriting interesting. Finally, Orlando’s characteristic delivery—highlighted on tracks like “Sun Magenta,” “Post Poetic,” and “Your Holocene”—remains divisive, directly eroding the vitality of the songwriting by distracting from the superior instrumentation.
Words of Indigo marks Novembre’s definitive return following yet another long hiatus and lineup change and it delivers on nearly every front. It’s dynamic and richly textured, weaving the group’s familiar characteristics into a sonic tapestry defined by compelling, adventurous guitar leads. While clunky at times, Words of Indigo signals a new phase for Novembre, successfully positioning them not just as underappreciated doom and death metal mainstays, but as artists intent on consistently reimagining their core identity. This complex, nuanced emotional landscape absolutely warrants your attention and has firmly rekindled my intrigue for what is hopefully to come.
Rating: Very Good!
DR: 7 | Format Reviewed: 320 kb/s mp3
Label: Peaceville Records
Websites: novembre2.bandcamp.com/music | novembre.co.uk | facebook.com/Novembre1941#
Releases Worldwide: November 7th, 2025
#2025 #35 #Anathema #Catacomb #DoomMetal #Enslaved #Fallujah #ItalianMetal #Nov25 #Novembre #PeacevilleRecords #ProgressiveMetal #Review #Reviews #The3rdTheMortal #WordsOfIndigo
By Steel Druhm
New Jersey’s Evoken is one the big names in the very niche genre of funeral doom. Since 1994 they’ve been churning out lengthy, unhurried odes to despair and tragedy, taking heavy inspiration from the Peaceville Three era while forging a path of their own. Albums like Quietus and Antithesis of Light are regarded as funeral doom triumphs, and you can depend on Evoken to deliver carefully crafted epics full of emotionally harrowing moods. It’s been a long time since 2018s Hypnagogia dropped, and 2025 finally sees these Garden State downers resurface for 7th full-length, Mendacium. And when I saw full-length, I mean FULL, as this beast runs over an hour with songs typically in the 9-10 minute framework. Funeral doom can be a tough sell to many, even when executed adroitly. Will there be an appetite for an hour-plus of what Evoken have prepared for the ears?
Nearly 10-minute opener “Matins” isn’t what I would call a soft intro to the Evoken experience. It’s eerie, ominous funeral noise with heavy, drawn-out doom riffs, cavernous death croaks, and nerve-jangled synths, but as the monster shambles forward, more melodic touches emerge from the miasma. Sad, forlorn piano keys twinkle in that My Dying Bride way, and a vaguely Gothic mist swirls below the heavier assault. Sudden upheavals of blast beats and trem riffs jumpstart the energy, and tempos are toyed with just enough to keep things from becoming a faceless mush of doom plod. The package is what Evoken have done before, and it isn’t showing new textures so much as moving established genre pieces around on the board. The forlorn guitar lines and solos ache with emotion, and a feeling of suffocating hopelessness is maintained throughout. Is it a chore to get through? That will depend on how well you stomach funeral doom, but even for a fan like me, it does feel a bit long by the end. “Lauds” is another 10-minute death march, but a bit more “urgent” in its pacing, with more emphasis on force and less on atmosphere and nuance. The dramatic spoken word bits can be a take-it-or-leave-it element, but the riffs are meaty and heavy, and there’s a sense of danger here instead of just grief. It’s got genuinely gripping moments, and the vaguely liturgical feel of the synths and ghostly choirs is a nifty touch, but Evoken drag segments out past the point of usefulness with resultingly diminishing returns.
For my tastes, “None” is the album highlight. Though typically slow to get locked into gear, once there, you’re greeted with gripping death and black vocals and a rising intensity that feels like it’s on the highway to Hell. There’s real menace here, though restraint and leaden pacing are still the watchwords. The extra weight from the riffs helps keep attention, though Evoken still tests your patience with stretched-out segments of minimal action. Closer “Compline” dives deeper into classic doom and the salad days of My Dying Bride and Anathema with mostly positive results. I especially like the banged upon piano keys, which hint at something disturbing. The big obstacle across Mendacium is the way Evoken build their long-form compositions. They can often feel flat and undynamic, even by funeral doom standards. The tracks with the most routine tempo shifts work best, but even they feel 2-3 minutes too long. This isn’t a new issue for the band, but it seems to have become more pronounced starting on Hypnagogia. There are long segments that could appear on a new age meditation album, where you can sit and zone out to the astral plane. That’s fine, but I don’t want lots of that in my funeral doom.
John Paradiso and Chris Molinari offer a fair amount of heavy doom riffs, and there are plenty of plaintive harmonies that speak of melancholy and despair. They aren’t the most dynamic riff authors out there, but they know how to set a mood and build atmosphere. Paradiso’s vocals are effective, his death roars booming and menacing and his evil blackened cackles sounding suitably demonic. I’m not a fan of the spoken word bits, but that’s a genre-wide issue and a personal preference. Vince Verkay does a lot on the kit when let off his leash by the funerary slogging. He’s one of the bright spots here, and I find my attention drawn to his playing frequently.
Evoken are pros at this style of doom, and Mendacium is solid, competent funeral doom with some writing snags that take it down a few notches in effectiveness. Too many moments evoke spa time, sitting with cucumber slices on my eyes rather than sobbing inconsolably at a loved one’s grave. I need less spa, more funeral. This may be one of the most restrained things to ever come out of New Jersey, and that’s not a selling point for Yours Steely. Still, if the mood is right, this could lull you into an early grave. A muted endorsement.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore
Websites: evokenofficial.bandcamp.com | facebook.com/evokenhell | instagram.com/evoken_doom_official
Releases Worldwide: October 17th, 2025
#2025 #30 #AmericanMetal #Anathema #DeathMetal #DoomMetal #Evoken #FuneralDoom #Mendacium #MyDyingBride #Oct25 #ProfoundLore #Review #Reviews
Song: Flying
Band: #Anathema
Album: A natural disaster
Year: 2003
Genre: #Rock
"And it feels like I'm flying above you
Dream that I'm dying to find the truth
Seems like your trying to bring me down
Back down to earth back down to earth"
https://www.youtube.com/watch?v=gAIuby8gEQs
Full playlist here:
https://open.spotify.com/playlist/6hlEBFbE1qBWI95kbALD1M
Weather Systems en Chile 2025: fecha, lugar y venta de entradas para el concierto con ex integrantes de Anathema | vía #FuturoCL
Dark Nights: **Philadelphia, U$A: Anathema Volume 11 Issue 1**
https://darknights.noblogs.org/post/2025/08/23/philadelphia-ua-anathema-volume-11-issue-1/
Volume 11 Issue 1 (PDF for reading 8.5×11) Volume 11 Issue 1 (PDF for printing 11×17) In this issue: What Went Down Ins & Outs Leadership Is It Fascism? Ten Years Of Anti-Gentrification Ben Morea Talk Reportback Anarchist Muay Thai The Moon Is Down Review
#Library #AnarchistNewspaper #Anathema #BenMorea #BlackMask #Democracy
Kazapistan: Ein anathematisches Gedicht – ein Fluch gegen ein Reich der Gewalt. Frei von Trost und Subtilität ⤵️
Posting something AI generated in an attempt to trick people into thinking it is "real" and/or that it is human generated should be #anathema.
🖤 ROUND II - Phase 1 - match 24/27
Which one is the best doom metal album?
🤘 YOB, The Illusion of Motion, (2004)
or
🤘 Anathema, The Silent Enigma, (1995)
➡️See pinned post on profile for the tournament rules
:mastodon: Please 𝗕𝗢𝗢𝗦𝗧
🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING
#KingusMusicTournaments #MusicTournament #Doom #DoomMetal #KMTPoll #Music #YOB #Anathema
🖤 ROUND I - Phase 1 - match 37/50
Which one is the best doom metal album?
🤘 Anathema, The Silent Enigma, (1995)
or
🤘 Boris with Merzbow, Rock Dream, (2007)
➡️See pinned post on profile for the tournament rules
:mastodon: Please 𝗕𝗢𝗢𝗦𝗧
🎧 YOU ARE STRONGLY ENCOURAGED TO GIVES EACH ALBUM A FRESH LISTEN BEFORE VOTING
#KingusMusicTournaments #MusicTournament #Doom #DoomMetal #KMTPoll #Music #Anathema #Boris #Merzbow
Neue Konzertreview online: Der ANATHEMA-Nachfolger WEATHER SYSTEMS um Mastermind Daniel Cavanagh zusammen mit HAUNT THE WOODS, beide aus Großbritannien, zu Gast im Aschaffenburger Colos-Saal https://bit.ly/4jdyXNl #HauntTheWoods #Anathema #WeatherSystems
https://www.rockstage-riot-rheinmain.de/weather-systems.html
