#anathema — Public Fediverse posts

ANATHEMA (Canadà) presenta nou single: "I Used to Pray for Times like These" #Anathema #Deathcore #Juliol2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

ANATHEMA (Canadà) presenta nou single: "I Used to Pray for Times like These" #Anathema #Deathcore #Juliol2026 #Canadà #NouSingle #Metall #Metal #MúsicaMetal #MetalMusic

«Si no me quisiste así…»: 10 bandas de raíces más radicales y extremas que cambiaron drásticamente su sonido | vía #NaciónRock

https://www.nacionrock.com/si-no-me-quisiste-asi-10-bandas-de-raices-mas-radicales-y-extremas-que-cambiaron-drasticamente-su-sonido/

#anathema #badomens #bringmethehorizon #corrosionofconformity #especiales #inflames #katatonia #thegathering #turnstile

https://www.theguardian.com/society/2026/jun/14/assisted-dying-bill-return-commons-lauren-edwards. The #LabourParty really hates #disabled #people. They failed in their last attempt to force people with #disabilities to kill themselves - now they're having another go. The idea of #spending more on #disability #benefits or #palliative #care instead appears to be #anathema to them. They certainly don't give a damn about our #rights! They DISGUST me!

https://www.theguardian.com/society/2026/jun/14/assisted-dying-bill-return-commons-lauren-edwards. The #LabourParty really hates #disabled #people. They failed in their last attempt to force people with #disabilities to kill themselves - now they're having another go. The idea of #spending more on #disability #benefits or #palliative #care instead appears to be #anathema to them. They certainly don't give a damn about our #rights! They DISGUST me!

https://www.theguardian.com/society/2026/jun/14/assisted-dying-bill-return-commons-lauren-edwards. The #LabourParty really hates #disabled #people. They failed in their last attempt to force people with #disabilities to kill themselves - now they're having another go. The idea of #spending more on #disability #benefits or #palliative #care instead appears to be #anathema to them. They certainly don't give a damn about our #rights! They DISGUST me!

https://www.theguardian.com/society/2026/jun/14/assisted-dying-bill-return-commons-lauren-edwards. The #LabourParty really hates #disabled #people. They failed in their last attempt to force people with #disabilities to kill themselves - now they're having another go. The idea of #spending more on #disability #benefits or #palliative #care instead appears to be #anathema to them. They certainly don't give a damn about our #rights! They DISGUST me!

https://www.theguardian.com/society/2026/jun/14/assisted-dying-bill-return-commons-lauren-edwards. The #LabourParty really hates #disabled #people. They failed in their last attempt to force people with #disabilities to kill themselves - now they're having another go. The idea of #spending more on #disability #benefits or #palliative #care instead appears to be #anathema to them. They certainly don't give a damn about our #rights! They DISGUST me!

It’s not that often that I’ll have difficulty talking about an album that’s hitting its 20 year anniversary soon. In the case of Watching from a Distance, the second (and at the time, final) album from UK doom metal (then-) trio Warning, giving words to the atmosphere, the weight, and the aching hurt emanating from these five songs proved to be more than daunting. It’s not that often that you come across an album that feels like a sonic gutpunch that just doesn’t stop punching you into emotional submission, and guitarist/vocalist/mainman Patrick Walker did so effortlessly. It’s hard to not feel something while listening to the album, then or now. It’s this encapsulation of utter sadness and yearning that would influence many since, and what better time than now to induct Watching from a Distance into the Halls of the Olde?

Warning didn’t come from the more Gothic sounds of their contemporaries (and fellow YMIO inductees) Anathema, My Dying Bride, or Paradise Lost. Lyrically, they also couldn’t be more different. Whereas not many people could sing about fighting the gods like Darren White did, nor can we all take Aaron Stainthorpe’s hand or do we all have the ability to opaque the dissident establishment that we all suffer like Nick Holmes,1 we’ve all encountered the aftermath of a break-up or losing a loved one. If you haven’t, rest assured it’s coming, and no one can articulate the sheer crushing feeling that comes with that like Walker does here, and it’s especially not at the level of maturity he exhibited. No fingers pointed, no blame assigned, no good/bad person(s) to smear… just the aftermath, the pain that comes with it, and the knowledge (or lack thereof) of what to do next to move on.

Take the devastatingly heartbreaking “Bridges,” in which there’s very little variation between riffs and percussive patterns, and that’s on purpose: the rhythm section of bassist Marcus Hatfield and drummer Stuart Springthorpe knew to keep things plodding and controlled by design, further accentuating the repetitive riffs and lyrics of Walker’s. Speaking of, each verse ends with Walker achingly bellowing “I wish you were here with me tonight,” with each passing verse more dire and heartwrenching than the last, with the final pass preceded by “Can someone feel too much?” Tear-inducing on its own, but when it’s immediately followed by Walker harmoniously bellowing towards the end, those who are unprepared2 will be reduced to a quivering pile of sobs. Emotionally decimating.

The other four songs also float by with the grace and delicacy of a cinder block thrown right at your heart and emotions. The closing combo of “Faces” and “Echoes” do a fine job of further bringing the sorrow and pain, with the former lamenting a sense of normalcy amongst the crumble of a failed relationship, while the latter recalls pleasant memories of what was, but will never be again. However, it’s the opening one-two suckerpunch of the title track and “Footprints” that everyone remembers, and with good reason. The title track feels like a moment in time where Walker sees the wreckage of a the relationship and sees what he remembers are the good qualities, but it’s far too late to turn back the clock and repair the damage. And “Footprints”… man, fuck “Footprints” so much. At first a bit more upbeat than “Watching from a Distance,” all seemingly feels almost uplifting when suddenly Walker bares all in the song’s final few minutes, complete with a desperate delivery, complete with an emotionally charged voice that cracks and warbles in a broken manner that I made the mistake of listening to it the first time on my way home from work, and I had to pull over to partake in the ugliest of purging crying sessions. It’s ultra-rare that doom metal can make me feel that way, and Walker and company succeeded in accomplishing this in spades.

It was a sad time when Walker disbanded Warning in 2009, due to the simplest of reasons: artistic integrity and keeping his vision intact, forming the formidable 40 Watt Sun, an acoustic continuation of what Warning achieved. However, with their influence driving the likes of Pallbearer and Khemmis (among others), it was only a matter of time before Warning would return with Hatfield in tow, and now with their long-awaited third album, Rituals of Shame, on the horizon, it’s only fitting to induct Watching from a Distance in the Halls of the Olde. Give this a listen, but bring tissues.

It’s not that often that I’ll have difficulty talking about an album that’s hitting its 20 year anniversary soon. In the case of Watching from a Distance, the second (and at the time, final) album from UK doom metal (then-) trio Warning, giving words to the atmosphere, the weight, and the aching hurt emanating from these five songs proved to be more than daunting. It’s not that often that you come across an album that feels like a sonic gutpunch that just doesn’t stop punching you into emotional submission, and guitarist/vocalist/mainman Patrick Walker did so effortlessly. It’s hard to not feel something while listening to the album, then or now. It’s this encapsulation of utter sadness and yearning that would influence many since, and what better time than now to induct Watching from a Distance into the Halls of the Olde?

Warning didn’t come from the more Gothic sounds of their contemporaries (and fellow YMIO inductees) Anathema, My Dying Bride, or Paradise Lost. Lyrically, they also couldn’t be more different. Whereas not many people could sing about fighting the gods like Darren White did, nor can we all take Aaron Stainthorpe’s hand or do we all have the ability to opaque the dissident establishment that we all suffer like Nick Holmes,1 we’ve all encountered the aftermath of a break-up or losing a loved one. If you haven’t, rest assured it’s coming, and no one can articulate the sheer crushing feeling that comes with that like Walker does here, and it’s especially not at the level of maturity he exhibited. No fingers pointed, no blame assigned, no good/bad person(s) to smear… just the aftermath, the pain that comes with it, and the knowledge (or lack thereof) of what to do next to move on.

Take the devastatingly heartbreaking “Bridges,” in which there’s very little variation between riffs and percussive patterns, and that’s on purpose: the rhythm section of bassist Marcus Hatfield and drummer Stuart Springthorpe knew to keep things plodding and controlled by design, further accentuating the repetitive riffs and lyrics of Walker’s. Speaking of, each verse ends with Walker achingly bellowing “I wish you were here with me tonight,” with each passing verse more dire and heartwrenching than the last, with the final pass preceded by “Can someone feel too much?” Tear-inducing on its own, but when it’s immediately followed by Walker harmoniously bellowing towards the end, those who are unprepared2 will be reduced to a quivering pile of sobs. Emotionally decimating.

The other four songs also float by with the grace and delicacy of a cinder block thrown right at your heart and emotions. The closing combo of “Faces” and “Echoes” do a fine job of further bringing the sorrow and pain, with the former lamenting a sense of normalcy amongst the crumble of a failed relationship, while the latter recalls pleasant memories of what was, but will never be again. However, it’s the opening one-two suckerpunch of the title track and “Footprints” that everyone remembers, and with good reason. The title track feels like a moment in time where Walker sees the wreckage of a the relationship and sees what he remembers are the good qualities, but it’s far too late to turn back the clock and repair the damage. And “Footprints”… man, fuck “Footprints” so much. At first a bit more upbeat than “Watching from a Distance,” all seemingly feels almost uplifting when suddenly Walker bares all in the song’s final few minutes, complete with a desperate delivery, complete with an emotionally charged voice that cracks and warbles in a broken manner that I made the mistake of listening to it the first time on my way home from work, and I had to pull over to partake in the ugliest of purging crying sessions. It’s ultra-rare that doom metal can make me feel that way, and Walker and company succeeded in accomplishing this in spades.

It was a sad time when Walker disbanded Warning in 2009, due to the simplest of reasons: artistic integrity and keeping his vision intact, forming the formidable 40 Watt Sun, an acoustic continuation of what Warning achieved. However, with their influence driving the likes of Pallbearer and Khemmis (among others), it was only a matter of time before Warning would return with Hatfield in tow, and now with their long-awaited third album, Rituals of Shame, on the horizon, it’s only fitting to induct Watching from a Distance in the Halls of the Olde. Give this a listen, but bring tissues.

It’s not that often that I’ll have difficulty talking about an album that’s hitting its 20 year anniversary soon. In the case of Watching from a Distance, the second (and at the time, final) album from UK doom metal (then-) trio Warning, giving words to the atmosphere, the weight, and the aching hurt emanating from these five songs proved to be more than daunting. It’s not that often that you come across an album that feels like a sonic gutpunch that just doesn’t stop punching you into emotional submission, and guitarist/vocalist/mainman Patrick Walker did so effortlessly. It’s hard to not feel something while listening to the album, then or now. It’s this encapsulation of utter sadness and yearning that would influence many since, and what better time than now to induct Watching from a Distance into the Halls of the Olde?

Warning didn’t come from the more Gothic sounds of their contemporaries (and fellow YMIO inductees) Anathema, My Dying Bride, or Paradise Lost. Lyrically, they also couldn’t be more different. Whereas not many people could sing about fighting the gods like Darren White did, nor can we all take Aaron Stainthorpe’s hand or do we all have the ability to opaque the dissident establishment that we all suffer like Nick Holmes,1 we’ve all encountered the aftermath of a break-up or losing a loved one. If you haven’t, rest assured it’s coming, and no one can articulate the sheer crushing feeling that comes with that like Walker does here, and it’s especially not at the level of maturity he exhibited. No fingers pointed, no blame assigned, no good/bad person(s) to smear… just the aftermath, the pain that comes with it, and the knowledge (or lack thereof) of what to do next to move on.

Take the devastatingly heartbreaking “Bridges,” in which there’s very little variation between riffs and percussive patterns, and that’s on purpose: the rhythm section of bassist Marcus Hatfield and drummer Stuart Springthorpe knew to keep things plodding and controlled by design, further accentuating the repetitive riffs and lyrics of Walker’s. Speaking of, each verse ends with Walker achingly bellowing “I wish you were here with me tonight,” with each passing verse more dire and heartwrenching than the last, with the final pass preceded by “Can someone feel too much?” Tear-inducing on its own, but when it’s immediately followed by Walker harmoniously bellowing towards the end, those who are unprepared2 will be reduced to a quivering pile of sobs. Emotionally decimating.

The other four songs also float by with the grace and delicacy of a cinder block thrown right at your heart and emotions. The closing combo of “Faces” and “Echoes” do a fine job of further bringing the sorrow and pain, with the former lamenting a sense of normalcy amongst the crumble of a failed relationship, while the latter recalls pleasant memories of what was, but will never be again. However, it’s the opening one-two suckerpunch of the title track and “Footprints” that everyone remembers, and with good reason. The title track feels like a moment in time where Walker sees the wreckage of a the relationship and sees what he remembers are the good qualities, but it’s far too late to turn back the clock and repair the damage. And “Footprints”… man, fuck “Footprints” so much. At first a bit more upbeat than “Watching from a Distance,” all seemingly feels almost uplifting when suddenly Walker bares all in the song’s final few minutes, complete with a desperate delivery, complete with an emotionally charged voice that cracks and warbles in a broken manner that I made the mistake of listening to it the first time on my way home from work, and I had to pull over to partake in the ugliest of purging crying sessions. It’s ultra-rare that doom metal can make me feel that way, and Walker and company succeeded in accomplishing this in spades.

It was a sad time when Walker disbanded Warning in 2009, due to the simplest of reasons: artistic integrity and keeping his vision intact, forming the formidable 40 Watt Sun, an acoustic continuation of what Warning achieved. However, with their influence driving the likes of Pallbearer and Khemmis (among others), it was only a matter of time before Warning would return with Hatfield in tow, and now with their long-awaited third album, Rituals of Shame, on the horizon, it’s only fitting to induct Watching from a Distance in the Halls of the Olde. Give this a listen, but bring tissues.

It’s not that often that I’ll have difficulty talking about an album that’s hitting its 20 year anniversary soon. In the case of Watching from a Distance, the second (and at the time, final) album from UK doom metal (then-) trio Warning, giving words to the atmosphere, the weight, and the aching hurt emanating from these five songs proved to be more than daunting. It’s not that often that you come across an album that feels like a sonic gutpunch that just doesn’t stop punching you into emotional submission, and guitarist/vocalist/mainman Patrick Walker did so effortlessly. It’s hard to not feel something while listening to the album, then or now. It’s this encapsulation of utter sadness and yearning that would influence many since, and what better time than now to induct Watching from a Distance into the Halls of the Olde?

Warning didn’t come from the more Gothic sounds of their contemporaries (and fellow YMIO inductees) Anathema, My Dying Bride, or Paradise Lost. Lyrically, they also couldn’t be more different. Whereas not many people could sing about fighting the gods like Darren White did, nor can we all take Aaron Stainthorpe’s hand or do we all have the ability to opaque the dissident establishment that we all suffer like Nick Holmes,1 we’ve all encountered the aftermath of a break-up or losing a loved one. If you haven’t, rest assured it’s coming, and no one can articulate the sheer crushing feeling that comes with that like Walker does here, and it’s especially not at the level of maturity he exhibited. No fingers pointed, no blame assigned, no good/bad person(s) to smear… just the aftermath, the pain that comes with it, and the knowledge (or lack thereof) of what to do next to move on.

Take the devastatingly heartbreaking “Bridges,” in which there’s very little variation between riffs and percussive patterns, and that’s on purpose: the rhythm section of bassist Marcus Hatfield and drummer Stuart Springthorpe knew to keep things plodding and controlled by design, further accentuating the repetitive riffs and lyrics of Walker’s. Speaking of, each verse ends with Walker achingly bellowing “I wish you were here with me tonight,” with each passing verse more dire and heartwrenching than the last, with the final pass preceded by “Can someone feel too much?” Tear-inducing on its own, but when it’s immediately followed by Walker harmoniously bellowing towards the end, those who are unprepared2 will be reduced to a quivering pile of sobs. Emotionally decimating.

The other four songs also float by with the grace and delicacy of a cinder block thrown right at your heart and emotions. The closing combo of “Faces” and “Echoes” do a fine job of further bringing the sorrow and pain, with the former lamenting a sense of normalcy amongst the crumble of a failed relationship, while the latter recalls pleasant memories of what was, but will never be again. However, it’s the opening one-two suckerpunch of the title track and “Footprints” that everyone remembers, and with good reason. The title track feels like a moment in time where Walker sees the wreckage of a the relationship and sees what he remembers are the good qualities, but it’s far too late to turn back the clock and repair the damage. And “Footprints”… man, fuck “Footprints” so much. At first a bit more upbeat than “Watching from a Distance,” all seemingly feels almost uplifting when suddenly Walker bares all in the song’s final few minutes, complete with a desperate delivery, complete with an emotionally charged voice that cracks and warbles in a broken manner that I made the mistake of listening to it the first time on my way home from work, and I had to pull over to partake in the ugliest of purging crying sessions. It’s ultra-rare that doom metal can make me feel that way, and Walker and company succeeded in accomplishing this in spades.

It was a sad time when Walker disbanded Warning in 2009, due to the simplest of reasons: artistic integrity and keeping his vision intact, forming the formidable 40 Watt Sun, an acoustic continuation of what Warning achieved. However, with their influence driving the likes of Pallbearer and Khemmis (among others), it was only a matter of time before Warning would return with Hatfield in tow, and now with their long-awaited third album, Rituals of Shame, on the horizon, it’s only fitting to induct Watching from a Distance in the Halls of the Olde. Give this a listen, but bring tissues.

It’s not that often that I’ll have difficulty talking about an album that’s hitting its 20 year anniversary soon. In the case of Watching from a Distance, the second (and at the time, final) album from UK doom metal (then-) trio Warning, giving words to the atmosphere, the weight, and the aching hurt emanating from these five songs proved to be more than daunting. It’s not that often that you come across an album that feels like a sonic gutpunch that just doesn’t stop punching you into emotional submission, and guitarist/vocalist/mainman Patrick Walker did so effortlessly. It’s hard to not feel something while listening to the album, then or now. It’s this encapsulation of utter sadness and yearning that would influence many since, and what better time than now to induct Watching from a Distance into the Halls of the Olde?

Warning didn’t come from the more Gothic sounds of their contemporaries (and fellow YMIO inductees) Anathema, My Dying Bride, or Paradise Lost. Lyrically, they also couldn’t be more different. Whereas not many people could sing about fighting the gods like Darren White did, nor can we all take Aaron Stainthorpe’s hand or do we all have the ability to opaque the dissident establishment that we all suffer like Nick Holmes,1 we’ve all encountered the aftermath of a break-up or losing a loved one. If you haven’t, rest assured it’s coming, and no one can articulate the sheer crushing feeling that comes with that like Walker does here, and it’s especially not at the level of maturity he exhibited. No fingers pointed, no blame assigned, no good/bad person(s) to smear… just the aftermath, the pain that comes with it, and the knowledge (or lack thereof) of what to do next to move on.

Take the devastatingly heartbreaking “Bridges,” in which there’s very little variation between riffs and percussive patterns, and that’s on purpose: the rhythm section of bassist Marcus Hatfield and drummer Stuart Springthorpe knew to keep things plodding and controlled by design, further accentuating the repetitive riffs and lyrics of Walker’s. Speaking of, each verse ends with Walker achingly bellowing “I wish you were here with me tonight,” with each passing verse more dire and heartwrenching than the last, with the final pass preceded by “Can someone feel too much?” Tear-inducing on its own, but when it’s immediately followed by Walker harmoniously bellowing towards the end, those who are unprepared2 will be reduced to a quivering pile of sobs. Emotionally decimating.

The other four songs also float by with the grace and delicacy of a cinder block thrown right at your heart and emotions. The closing combo of “Faces” and “Echoes” do a fine job of further bringing the sorrow and pain, with the former lamenting a sense of normalcy amongst the crumble of a failed relationship, while the latter recalls pleasant memories of what was, but will never be again. However, it’s the opening one-two suckerpunch of the title track and “Footprints” that everyone remembers, and with good reason. The title track feels like a moment in time where Walker sees the wreckage of a the relationship and sees what he remembers are the good qualities, but it’s far too late to turn back the clock and repair the damage. And “Footprints”… man, fuck “Footprints” so much. At first a bit more upbeat than “Watching from a Distance,” all seemingly feels almost uplifting when suddenly Walker bares all in the song’s final few minutes, complete with a desperate delivery, complete with an emotionally charged voice that cracks and warbles in a broken manner that I made the mistake of listening to it the first time on my way home from work, and I had to pull over to partake in the ugliest of purging crying sessions. It’s ultra-rare that doom metal can make me feel that way, and Walker and company succeeded in accomplishing this in spades.

It was a sad time when Walker disbanded Warning in 2009, due to the simplest of reasons: artistic integrity and keeping his vision intact, forming the formidable 40 Watt Sun, an acoustic continuation of what Warning achieved. However, with their influence driving the likes of Pallbearer and Khemmis (among others), it was only a matter of time before Warning would return with Hatfield in tow, and now with their long-awaited third album, Rituals of Shame, on the horizon, it’s only fitting to induct Watching from a Distance in the Halls of the Olde. Give this a listen, but bring tissues.

Imagine future Iran with nuclear power and also commanding the other Arab state in the region w/ good military prowess. #anathema for somebody.

Imagine future Iran with nuclear power and also commanding the other Arab state in the region w/ good military prowess. #anathema for somebody.

Imagine future Iran with nuclear power and also commanding the other Arab state in the region w/ good military prowess. #anathema for somebody.

Playing some #anathema the ending of the solo slipped my mind so I had to improvise 😜#umbersound #doommetal #doom #metal

Playing some #anathema the ending of the solo slipped my mind so I had to improvise 😜#umbersound #doommetal #doom #metal

Playing some #anathema the ending of the solo slipped my mind so I had to improvise 😜#umbersound #doommetal #doom #metal

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

#Postrock #NewArtrock #Ambient #GothicRock

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

#Postrock #NewArtrock #Ambient #GothicRock

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

#Postrock #NewArtrock #Ambient #GothicRock

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

#Postrock #NewArtrock #Ambient #GothicRock

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

#Postrock #NewArtrock #Ambient #GothicRock

„Judgement“ ist nach wie vor DAS Anathema-Album für mich. Meisterwerk. #anathema

„Judgement“ ist nach wie vor DAS Anathema-Album für mich. Meisterwerk. #anathema

„Judgement“ ist nach wie vor DAS Anathema-Album für mich. Meisterwerk. #anathema

Currently checking out Pictures by #HamaSaari.
I'd describe their music as dreamy, mellow #ProgRock, #Alcest'ey in places and some (late) #Anathema, too.

https://hamasaari.bandcamp.com/album/pictures

#bcf #BandcampFriday #Bandcamp

Currently checking out Pictures by #HamaSaari.
I'd describe their music as dreamy, mellow #ProgRock, #Alcest'ey in places and some (late) #Anathema, too.

https://hamasaari.bandcamp.com/album/pictures

#bcf #BandcampFriday #Bandcamp

Currently checking out Pictures by #HamaSaari.
I'd describe their music as dreamy, mellow #ProgRock, #Alcest'ey in places and some (late) #Anathema, too.

https://hamasaari.bandcamp.com/album/pictures

#bcf #BandcampFriday #Bandcamp

Yep, ich bin gerade mal wieder auf nem Anathema-Trip. Danke @rocksmurf für die Inspiration. #anathema

Yep, ich bin gerade mal wieder auf nem Anathema-Trip. Danke @rocksmurf für die Inspiration. #anathema

Yep, ich bin gerade mal wieder auf nem Anathema-Trip. Danke @rocksmurf für die Inspiration. #anathema

Yep, ich bin gerade mal wieder auf nem Anathema-Trip. Danke @rocksmurf für die Inspiration. #anathema

Als Anathema noch Death Metal gespielt haben ... Meine große Liebe zur Band begann im Grunde mit „Eternity“ und dauerte bis zum Ende ihrer Progressive/Alternative Rock-Phase. "Serenades" läuft heute aber immer noch gut rein. #peaceville #anathema

Als Anathema noch Death Metal gespielt haben ... Meine große Liebe zur Band begann im Grunde mit „Eternity“ und dauerte bis zum Ende ihrer Progressive/Alternative Rock-Phase. "Serenades" läuft heute aber immer noch gut rein. #peaceville #anathema

Als Anathema noch Death Metal gespielt haben ... Meine große Liebe zur Band begann im Grunde mit „Eternity“ und dauerte bis zum Ende ihrer Progressive/Alternative Rock-Phase. "Serenades" läuft heute aber immer noch gut rein. #peaceville #anathema

Aus meinem #Ticketarchiv :
Anathema
Abgesagt wegen Corona.
Heute vor 6 Jahren.

#Anathema

Aus meinem #Ticketarchiv :
Anathema
Abgesagt wegen Corona.
Heute vor 6 Jahren.

#Anathema

Aus meinem #Ticketarchiv :
Anathema
Abgesagt wegen Corona.
Heute vor 6 Jahren.

#Anathema

Aus meinem #Ticketarchiv :
Anathema
Abgesagt wegen Corona.
Heute vor 6 Jahren.

#Anathema

Weather Systems o cómo volar en medio de la ciudad | vía #iRock

https://www.irock.cl/weather-systems-o-como-volar-en-medio-de-la-ciudad/?utm_source=rss&utm_medium=rss&utm_campaign=weather-systems-o-como-volar-en-medio-de-la-ciudad

#anathema #chargola #dannycavanagh #livereviewinternacional #metal #teatrocariola #weathersystems

Weather Systems o cómo volar en medio de la ciudad | vía #iRock

https://www.irock.cl/weather-systems-o-como-volar-en-medio-de-la-ciudad/?utm_source=rss&utm_medium=rss&utm_campaign=weather-systems-o-como-volar-en-medio-de-la-ciudad

#anathema #chargola #dannycavanagh #livereviewinternacional #metal #teatrocariola #weathersystems

Weather Systems – ‘Ocean Without a Shore’ (2024) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/weather-systems-ocean-without-a-shore-2024/

#anathema #chargolaprod #danielcardoso #danielcavanagh #discos #oceanwithoutashore #reseñadedisco #rockprogresivo #teatrocariola #weathersystemsoceanwithoutashore2024

Weather Systems – ‘Ocean Without a Shore’ (2024) | vía #SonidosOcultos

https://www.sonidosocultos.com/discos/weather-systems-ocean-without-a-shore-2024/

#anathema #chargolaprod #danielcardoso #danielcavanagh #discos #oceanwithoutashore #reseñadedisco #rockprogresivo #teatrocariola #weathersystemsoceanwithoutashore2024

Entrevista con Daniel Cavanagh : «Amo a todos los chicos de Anathema, los extraño, pero tengo que avanzar» | vía #NaciónProgresiva

https://nacionprogresiva.wordpress.com/2026/01/28/entrevista-con-daniel-cavanagh-amo-a-todos-los-chicos-de-anathema-los-extrano-pero-tengo-que-avanzar/

#anathema #danielcavanagh #prog #weathersystems

Entrevista con Daniel Cavanagh : «Amo a todos los chicos de Anathema, los extraño, pero tengo que avanzar» | vía #NaciónProgresiva

https://nacionprogresiva.wordpress.com/2026/01/28/entrevista-con-daniel-cavanagh-amo-a-todos-los-chicos-de-anathema-los-extrano-pero-tengo-que-avanzar/

#anathema #danielcavanagh #prog #weathersystems

Crisálida se suma como banda invitada al debut de Weather Systems en Chile | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/crisalida-se-suma-como-banda-invitada-al-debut-de-weather-systems-en-chile/

#anathema #chargolaprod #crisalida #livechile #rockprogresivo #t2026 #teatrocariola #weathersystems

Crisálida se suma como banda invitada al debut de Weather Systems en Chile | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/crisalida-se-suma-como-banda-invitada-al-debut-de-weather-systems-en-chile/

#anathema #chargolaprod #crisalida #livechile #rockprogresivo #t2026 #teatrocariola #weathersystems

Crisálida se suma como banda invitada al debut de Weather Systems en Chile | vía #SonidosOcultos

https://www.sonidosocultos.com/noticia/crisalida-se-suma-como-banda-invitada-al-debut-de-weather-systems-en-chile/

#anathema #chargolaprod #crisalida #livechile #rockprogresivo #t2026 #teatrocariola #weathersystems