#anathema — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #anathema, aggregated by home.social.
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New #CrippledBlackPhoenix album, coming April 17th, is rated 9/10 and AOTM in current #eclipsed.
#ffo #PinkFloyd, #GodspeedYouBlackEmperor, #TheCure, #Anathema
https://crippledblackphoenixsom.bandcamp.com/album/sceaduhelm
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Currently checking out Pictures by #HamaSaari.
I'd describe their music as dreamy, mellow #ProgRock, #Alcest'ey in places and some (late) #Anathema, too. -
Weather Systems o cómo volar en medio de la ciudad | vía #iRock
#anathema #chargola #dannycavanagh #livereviewinternacional #metal #teatrocariola #weathersystems
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https://www.europesays.com/nl/53033/ Kauan – Wayhome | Zware Metalen #2025 #agalloch #alcest #Amusement #anathema #ArtoffactRecords #atmospheric #AtmosphericPostRock #atoma #doom #Dutch #eldamar #empyrium #Entertainment #finland #kauan #Music #Muziek #Nederland #Nederlanden #Nederlands #Netherlands #NL #PostRock #recensie #saturnus #sólstafir #tenhi #ulver #wayhome #ZwareMetalen
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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
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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
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Weather Systems confirma su debut en Chile | vía #iRock
#anathema #chile #conciertos #internacional #rock #teatrocariola #weathersystems
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Quelqu'un m'explique comment ça se fait que Weather Systems (le groupe du chanteur et du batteur d'Anathema) fait un concert dans un bar à côté de Toul, dans le trou du cul de la Meurthe-et-Moselle ??
(J'ai turbo envie d'y aller)
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1. Because it's Tuesday
2. Because it's @DXMacGuffin's #ProgTuesday to be precise
3. Because the album bearing this band's name has not been saved, which is a shame
4. Because it's awesome.You don't need any more reasons to listen to
#WeatherSystems: Synaesthesia
https://song.link/t6hfjdxwjxcfg
FFO #Anathema (duh) #BentKnee #ThePineappleThief
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I have always been a big fan of the band #Anathema. Sadly the band stopped during Covid... But some of the members started a new band called #WeatherSystems (named after one of my favorite Anathema albums). They finally released a few songs. I wasn't sold on the first one. But the latest one, synaesthesia, is a great 9 minute #progrock banger! Definitely recommended! https://youtu.be/SkLBJU7SBoY?si=2prX7HM4MrXN2Ax7
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Meddl-Meddl-Meddl! #WeatherSystems veröffentlicht am 27.09.2024 „Ocean Without A Shore“.
YouTube-Clip zu ‚Do Angels Sing Like Rain?‘: https://www.youtube.com/watch?v=VbTCpEqGfuc -
Look to Windward – The Last Scattering Surface Review
By sentynel
One of the greatest feelings as a reviewer is rolling the dice on a completely unknown band and discovering they’re amazing. But you have to play to win, and I totally failed to pick up any reviews by bands I didn’t already know last year. I resolved to do better this year. There’s no magic formula I’ve found to identifying great promos, so I tend to skim the promo submissions queue and wait for things to catch my eye for whatever reason. Look to Windward immediately stood out. Prog with a name that might be an Iain M Banks reference?1 Perfect. And they’ve been around as a studio collaboration since 2009 and this is their third album, so they ought to have found their groove.
The Last Scattering Surface pretty much immediately hits a lot of prog staples. The songwriting is varied, with changeable moods, complex song structure, and a multi-track movement. The riffs recall, say, Haken in their rhythms and chunkiness (“Why Ask?,” “The Condition”). The use of paired male and female vocals meanwhile reminds me of Anathema, particularly in the way they trade phrases or segments (“Relic,” “Earth Overture”). There are several different vocalists on the album, and this and the writing also bring shades of Ayreon at times too (“Dance of the Futile”). There are references to older prog as well, in the synths on “Dance of the Futile” or the guitar solo in “Theia Arrived One Fateful Day.” These things are tropes for a reason and generally work well.
The problem with tropes, though, is the lingering sense of déjà vu that pervades the entire album. While I never get the sense that a particular section is directly lifted from another band, I spend a significant proportion of it with that itch of “ooh this really reminds me of something” that I can’t quite put my finger on. I also find that the writing doesn’t ever quite deliver emotional impact. Consequently, I find myself zoning out on The Last Scattering Surface a lot. It’s rarely as ear-wormy or even memorable. Even the more interesting bits don’t stick as well as they should (“Why Ask?”). Many sections of the album slip by with nary a mark left—I still couldn’t tell you a thing about tracks like “River Mercury” or “Spin.”
Many of the highlights are down to vocalist Emily Rice, who has a great voice and stylistic range and elevates everything she appears on. “Theia Arrived One Fateful Day” is a particularly strong example. The guitar work is always strong technically, and there are some great riffs here (“The Condition,” “Dance of the Futile”). It also sounds good, especially for something self-produced, with a nice DR9 master and plenty of space for all the moving parts. On the downside, there are occasional issues with the male vocals. There’s moments that are slightly charmingly rough-and-ready in a way that again reminds me of some early prog (“Why Ask?”), but also some moments where they just sound a little strained (“Relic,” other bits of “Why Ask?”). And the programmed drums are… there.
Despite its issues, there’s a lot to like on The Last Scattering Surface. Its best moments find talented musicians playing interesting music, with a good balance of the weird, the complex and the poppy. There are strong foundations and flashes of greatness, and perhaps with a clearer vision it could hit those more consistently. But in hewing too close to prog tradition, Look to Windward lose their own voice and my attention, and that’s a shame.
Rating: Mixed
DR: 9 | Format Reviewed: FLAC
Label: Self-Released
Websites: looktowindwardmusic.com | looktowindward.bandcamp.com
Releases Worldwide: May 31st, 2024#25 #2024 #Anathema #Ayreon #Haken #LookToWindward #May24 #NewZealandMetal #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfReleased #TheLastScatteringSurface
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Look to Windward – The Last Scattering Surface Review
By sentynel
One of the greatest feelings as a reviewer is rolling the dice on a completely unknown band and discovering they’re amazing. But you have to play to win, and I totally failed to pick up any reviews by bands I didn’t already know last year. I resolved to do better this year. There’s no magic formula I’ve found to identifying great promos, so I tend to skim the promo submissions queue and wait for things to catch my eye for whatever reason. Look to Windward immediately stood out. Prog with a name that might be an Iain M Banks reference?1 Perfect. And they’ve been around as a studio collaboration since 2009 and this is their third album, so they ought to have found their groove.
The Last Scattering Surface pretty much immediately hits a lot of prog staples. The songwriting is varied, with changeable moods, complex song structure, and a multi-track movement. The riffs recall, say, Haken in their rhythms and chunkiness (“Why Ask?,” “The Condition”). The use of paired male and female vocals meanwhile reminds me of Anathema, particularly in the way they trade phrases or segments (“Relic,” “Earth Overture”). There are several different vocalists on the album, and this and the writing also bring shades of Ayreon at times too (“Dance of the Futile”). There are references to older prog as well, in the synths on “Dance of the Futile” or the guitar solo in “Theia Arrived One Fateful Day.” These things are tropes for a reason and generally work well.
The problem with tropes, though, is the lingering sense of déjà vu that pervades the entire album. While I never get the sense that a particular section is directly lifted from another band, I spend a significant proportion of it with that itch of “ooh this really reminds me of something” that I can’t quite put my finger on. I also find that the writing doesn’t ever quite deliver emotional impact. Consequently, I find myself zoning out on The Last Scattering Surface a lot. It’s rarely as ear-wormy or even memorable. Even the more interesting bits don’t stick as well as they should (“Why Ask?”). Many sections of the album slip by with nary a mark left—I still couldn’t tell you a thing about tracks like “River Mercury” or “Spin.”
Many of the highlights are down to vocalist Emily Rice, who has a great voice and stylistic range and elevates everything she appears on. “Theia Arrived One Fateful Day” is a particularly strong example. The guitar work is always strong technically, and there are some great riffs here (“The Condition,” “Dance of the Futile”). It also sounds good, especially for something self-produced, with a nice DR9 master and plenty of space for all the moving parts. On the downside, there are occasional issues with the male vocals. There’s moments that are slightly charmingly rough-and-ready in a way that again reminds me of some early prog (“Why Ask?”), but also some moments where they just sound a little strained (“Relic,” other bits of “Why Ask?”). And the programmed drums are… there.
Despite its issues, there’s a lot to like on The Last Scattering Surface. Its best moments find talented musicians playing interesting music, with a good balance of the weird, the complex and the poppy. There are strong foundations and flashes of greatness, and perhaps with a clearer vision it could hit those more consistently. But in hewing too close to prog tradition, Look to Windward lose their own voice and my attention, and that’s a shame.
Rating: Mixed
DR: 9 | Format Reviewed: FLAC
Label: Self-Released
Websites: looktowindwardmusic.com | looktowindward.bandcamp.com
Releases Worldwide: May 31st, 2024#25 #2024 #Anathema #Ayreon #Haken #LookToWindward #May24 #NewZealandMetal #ProgressiveMetal #ProgressiveRock #Review #Reviews #SelfReleased #TheLastScatteringSurface
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CW: Cassette Beasts fanart; late game creature
Not the neatest cel-shading job, but I don't care. Anathema is a scrungly abomination anyway!
#creativetoots #fanart #monster #monstertaming #monstercollecting #CassetteBeasts #Anathema
