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ANATHEMA

Experimental/Post Metal • United Kingdom


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Anathema picture
Anathema biography
Founded as Pagan Angel in 1990 in Liverpool, UK

Their original line-up was: Darren White (vocals), Vincent Cavanagh (guitars), Daniel Cavanagh (guitars), Jamie Cavanagh (bass), and John Dougals (percussion), under the moniker PAGAN ANGEL. Since then, there's been too many line-up changes to mention here, although Vincent, Daniel, and John have all maintained status in the band, except Daniel briefly in 2002 (click on the album's for more line-up information). They would release one demo and then change their name to ANATHEMA. They released two more demo's and then were discovered by Hammy of Peaceville Records, who signed them. They went on to be the most overlooked gem of the '90's. Starting as romantic doom metal ("The Crestfallen", "Serenades", and "The Silent Enigma"), and then transitioning into an avant-garde experimental force. Each album bears evidence of progression. The vocals are always improving and becoming even more poignant, accenting the music and lyrics (which this band are probably the best lyricist's out there). "Eternity" was sort of a transitional album for them, somewhat abandoning the guttural cries of despondency and replacing that with Vincent Cavanagh's beautiful singing voice. Their influences range from PINK FLOYD to The BEATLES to RADIOHEAD. The future for ANATHEMA is promising because they are the future.

"The Cresfallen" and "Serenades" are mainly attracted by doom metal fans because of the pace of the music and Darren White's moody vocals. "Pentecost III" showed the band exploring long escapades into realms not traveled by any band in their genre. Also being the last release to feature Darren White on vocals. "The Silent Enigma" is a monumental album, blending beauty and despair, poetically. "Eternity" was the transitional album, where they explored the vast expanse of space (a la PINK FLOYD). "Alternative 4" and "Judgement" were both excellent editions to their catalogue, but lacking the experimentation of the next two albums. "A Fine Day to Exit" was a large step into various different soundscapes. It was followed by "A Natural Disaster," where they achieved a sound completely their own, surpassing even RADIOHEAD, with their absolute exploration of the unknown. "We're Here Because We're Here" was released in 2010 and continued to show signs of progression of the band's sound.

Highly recommended: "Pentecost III," "The Silent Enigma," Eternity," and "A Natural Disaster."

: : : Kurt Zander, USA : ...
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ANATHEMA Videos (YouTube and more)


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Buy ANATHEMA Music


The OptimistThe Optimist
KSCOPE 2017
$10.45
$12.98 (used)
Internal LandscapesInternal Landscapes
Kscope Import 2018
$10.45
$10.44 (used)
Weather SystemsWeather Systems
K-Scope 2016
$7.87
$12.43 (used)
A Fine Day To Exit (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)A Fine Day To Exit (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)
BMG/The End Records 2015
$14.95
Distant SatellitesDistant Satellites
KSCOPE 2017
$6.94
$6.98 (used)
A Fine Day To ExitA Fine Day To Exit
Sony Music Canada Inc. 2011
$4.66
$4.82 (used)
We're Here Because We're HereWe're Here Because We're Here
The End Records 2011
$8.03
$6.01 (used)
A Natural DisasterA Natural Disaster
Sony Music Canada Inc. 2011
$7.08
$6.08 (used)
Judgement (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)Judgement (Limited Edition)(180 Gram Vinyl, Includes CD Of Album)
BMG/The End Records 2015
$17.69
$25.96 (used)
Fine Days 1999 - 2004Fine Days 1999 - 2004
Sony Music Canada Inc. 2016
$7.36
$7.36 (used)
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ANATHEMA discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ANATHEMA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.31 | 204 ratings
Serenades
1993
3.12 | 237 ratings
The Silent Enigma
1995
3.59 | 328 ratings
Eternity
1996
4.05 | 576 ratings
Alternative 4
1998
4.15 | 663 ratings
Judgement
1999
3.83 | 466 ratings
A Fine Day To Exit
2001
3.90 | 527 ratings
A Natural Disaster
2003
4.05 | 863 ratings
We're Here Because We're Here
2010
3.80 | 394 ratings
Falling Deeper
2011
4.03 | 870 ratings
Weather Systems
2012
3.67 | 416 ratings
Distant Satellites
2014
3.59 | 130 ratings
The Optimist
2017

ANATHEMA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.47 | 83 ratings
Untouchable
2013
3.95 | 38 ratings
A Sort of Homecoming
2015

ANATHEMA Videos (DVD, Blu-ray, VHS etc)

3.40 | 30 ratings
A Vision Of A Dying Embrace
2002
3.34 | 50 ratings
Were You There live
2004
3.45 | 64 ratings
A Moment in Time
2006
4.51 | 134 ratings
Universal
2013

ANATHEMA Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.64 | 27 ratings
Serenades + Crestfallen
1995
3.21 | 37 ratings
Resonance: Best of Anathema
2001
2.67 | 29 ratings
Resonance 2
2002
3.93 | 149 ratings
Hindsight
2008
4.44 | 25 ratings
Original Album Classics
2011
4.00 | 8 ratings
Resonance 1 & 2
2015
4.29 | 7 ratings
Fine Days 1999 - 2004
2015
0.00 | 0 ratings
Internal Landscapes 2008-2018
2018

ANATHEMA Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

1.27 | 13 ratings
An Iliad of Woes
1990
1.59 | 14 ratings
All Faith is Lost
1991
2.80 | 10 ratings
They Die 7''
1992
2.23 | 58 ratings
The Crestfallen
1992
2.20 | 16 ratings
We are the Bible 7''
1994
2.88 | 68 ratings
Pentecost III
1995
1.63 | 11 ratings
Alternative Future
1998
2.42 | 12 ratings
Make it Right
1999
2.65 | 18 ratings
Deep
1999
3.80 | 15 ratings
Pressure
2001
3.30 | 10 ratings
Unchained (Tales Of The Unexpected)
2008
4.45 | 34 ratings
Everything
2010
3.25 | 4 ratings
Dreaming Light
2011
2.67 | 3 ratings
Untouchable Part 1
2012
2.67 | 3 ratings
Untouchable Part 2
2013
2.33 | 3 ratings
The Lost Song Part 3
2014
3.00 | 2 ratings
Untouchable
2014

ANATHEMA Reviews


Showing last 10 reviews only
 We're Here Because We're Here by ANATHEMA album cover Studio Album, 2010
4.05 | 863 ratings

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We're Here Because We're Here
Anathema Experimental/Post Metal

Review by sgtpepper

5 stars Together with "Weather Systems", this is the Anathema's peak. Incredible musicianship and experience accumulated through the years and a long break between the albums caused the band to spur extreme motivation to create a high quality music. The vocals have dramatically improved - melodic singing with harmonies and the inclusion of pleasant female vocals. The music sounds playful, mainly optimistic, adventurous enough and times has heavy riffs that harken back to the previous albums. If melancholy is introduced, then there are no traces of desperation in the music (I don't usually follow the lyrics). New influences have to play: alternative rock a la Incubus (hear track Get Off, Get Out that sounds so American) and post rock that was only present on the last track on the 2004's Natural Disaster. "Universal" is a slow-paced track with strings, gradually becoming a dark post-rock flavour. "Hindsight" together with "Violence" from "A natural disaster" are my favourite Anathema instrumental tracks and showcase perfect balance of guitar-driven and keyboard-led notes. While the latter is more complex, "Hindsight" sparks a feeling of harmony each time I listen to it. The guitar melody is simple yet amazing and effective.

If you want to start with Anathema and have an accessible but still progressive work, start with this one.

 Eternity by ANATHEMA album cover Studio Album, 1996
3.59 | 328 ratings

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Eternity
Anathema Experimental/Post Metal

Review by sgtpepper

3 stars Third album - three stars! Until now, each new Anathema effort has earned better rating than the previous. Anathema have removed their trademark sound and hence also most of their weaknesses - poor growling, inconsistent songwriting and lack of focus. The level of bleakness is lower which might be welcome by most of the listeners on this portal but perhaps not so on the metal forums. The lyrics are actually darker than the music. The heavy guitars are still prominent and singing is improved but still odd due to the artificially positioned vocal (as can be heard on "Beloved").

The album starts promising by a light instrumental overture that sounds promising. "The beloved" could be classified as doom rock not unrelated to Katatonia. There is also a splendig guitar solo - something not often heard by Anathema until now. Eternity tracks are quite contrast - the first one is dynamic and features irregular rhythm whereas the Eternity 2 is ethereal but not very interesting. Eternity 3 is closest to the slow doom metal. "Hope" shows a feature inclination to Pink Floyd - even though it does not fit to this album. The narrative in the end and beginning of the track are annoying. "Suicide Veil" shows acoustic and very heavy contrasts of Anathema. The anthemic "Far away" is the first very well known track that Anathema constantly plays live until today - and captures the trademark sound from the end of 90's. "Cries on the wind" is a great orientally influenced doom metal song. "Ascension" is in the same vein and has keyboard layers and more dynamic structure - and as one would expect, has the second part completely acoustic and peaceful. This is the recommended first album for more progressive Anathema fans.

 The Silent Enigma by ANATHEMA album cover Studio Album, 1995
3.12 | 237 ratings

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The Silent Enigma
Anathema Experimental/Post Metal

Review by sgtpepper

2 stars Anathema very slowly progressing to prog! Not only is the first awkward vocalist gone but the growls of Cavanaugh are a bit more bearable - it is more screaming than growling which suits his vocal better. Musically, the band has improved on all fronts: drums, interplay between guitars and keys, memorable instrumental passages. Even as a doom metal fan, I can say that this release won't be lost when compared to other true doom-metal outfits like My Dying Bride. The riffs and melodies are bleak, nevertheless, they have their quality and moment.

The first songs kicks off the anger and despair with grandiosity and gradual tension. "Shroud of Frost" has a pretty good dark instrumental part resulting in strings and guitars duet in the end. "Alone" is a delicate acoustic number sung by female vocals and a welcome break from dark gloomy tones. "Sunset of the Age" marks more experimental doom metal. "Noctural Emission" seems to be going in more directions that are compatible - slow doom and quick rock pattern. "The silent enigma" is a good doom metal song marred by the weeping vocal that does not suit the music at all. "A dying wish" is on par with the first track - a well developed doom-metal song with multiple parts and tempo changes. This will appeal to many doom metal fans. The dramatic last track "Black orchid" proves the talent of the band which was not yet evident on the first release.

This is the last growling album and sunrise will slowly come on the next band's releases that will start discovering new sonic soundscapes. A three star album but only two stars for this webpage as there's still too little for a progressive listener to find.

 Serenades by ANATHEMA album cover Studio Album, 1993
2.31 | 204 ratings

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Serenades
Anathema Experimental/Post Metal

Review by sgtpepper

1 stars As both doom-metal lover and proghead, this album only captured my attention 15 years ago when I ventured into the doom-metal territory and hadn't heard any other doom metal albums before.

I am fully in 'accord' with other reviewers - this bleak effort has also a bleak music quality, unfortunately. The weakeast element is growling - not everybody's voice is suitable and mediocre technique won't compensate. The instruments aren't convincing and there are very few memorable moments. The proof is a sub-standard second track "sweet tears" that is one of the weakest doom metal tracks I've ever heard. The third track, the only one sung by a female singer, is the only one of interest to both doom metal and progressive rock fan groups. "They will always die" is a small doom-metal improvement and has well defined riffs. The rest of the album is bland and the lengthy laid-back instrumental track does not improve the overall low production and music quality. Not recommended to any but die-hard doom metal 90's fans. A progressive rock fan will only find 2 minutes of appealing music out of 65, therefore 1 star.

 We are the Bible 7'' by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1994
2.20 | 16 ratings

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We are the Bible 7''
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

2 stars This is a very rare single that was originally only made available to subscribers of the Collectors Club. It was recorded in 1994 in the early doom metal days of Anathema, back when they sounded nothing like they do now. Both tracks are improvised songs recorded in studio, which is a rarity in the doom metal genre, so this shows Anathema's willingness to go above the norm, even in their early days, if nothing else.

'Nailed to the Cross/666' is the A Side. It starts as a slow drum pounds a rhythm and atmospheric guitars wail out feedback. The vocals are dirty of course, as they were in the early days. The tempo soon speeds up some while the vocalist chants out 666 in a gruff voice against a repetitive riff. Guitars take over and then drag the song to it's close.

'Eternal Rise of the Sun' starts with a slow guitar which soon gets layered with another guitar and a progressive pounding rhythm. The percussion levels out finally to a slow processional beat. The vocals are deep but spoken this time, so at least they can be understood. There is an attempt to sing, but it's not great singing and you wish he soon goes back to spoken vocals, which he does. The beat and bass follow a repetitive pattern, but there is a higher guitar that plays a more improvised part. The beat stops at 4 minutes, and then returns picking up speed while the other instruments follow suit, but following a same pattern. Suddenly an acoustic guitar starts playing on top of all of this, interestingly enough.

These 2 tracks are really surprisingly good and you can tell this is a band that is willing to try new things. Of course, their sound would change over the years. The Cavanaugh Brothers would, for the most part, be consistent members of the band throughout, but others members would change according to the style of music they were working to play at the time. It is often hard to believe this is the same band that would release the amazingly emotional post metal albums 'Weather Systems' and 'A Natural Disaster', but this short single is a sign that the band was looking to perfect their sound. Even with that, however, this single is more of a curiosity for fans than anything else, as the music, while surprising, isn't really that amazing. For collectors and fans only.

 Falling Deeper by ANATHEMA album cover Studio Album, 2011
3.80 | 394 ratings

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Falling Deeper
Anathema Experimental/Post Metal

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Deep and beautiful

Following the 2008 album "Hindsight", where Anathema revisited some of their more recent songs, and placing them in a softer, more acoustic setting, the band took the project a stage further in 2011. Falling deeper into their doom-laden past, this appropriately titled album brings a new found grace and beauty to some of their earliest material. While at the time of those recordings the band were known for their growled vocals and funereal sounds, it was always apparent that underlying it all was a collection of fine melodies and sensitive performances. "Falling deeper" finally allows those nuances to come to the fore as the band call upon Dave Stewart (of Egg) to add orchestral arrangements while they themselves seek to exploit the lyrical and musical themes that were often buried under the deluge of thumping and growling.

The eight songs included here (the album runs to under 40 minutes) originally appeared on albums and EPs such as "Crestfallen, "Serenades", "The Silent Enigma" and "Pentecost III". We open with the two part "Crestfallen / Sleep In Sanity" which is rather cut down from the original 10 minutes of "Crestfallen" (on the EP of that name) and 7 minutes of "Sleep in Sanity" (on "Serenades"). Instantly, we are presented with a piece of great beauty and harmonic perfection. Gone are the random growls and manically depressive lyrics, this interpretation relying solely on the underlying strength of the song. "Kingdom" was for me one of the more palatable songs on the "Pentecost III" EP. That album bore the first hints of the band's direction change, and it is those hints that are exploited here, with full orchestration.

"They die" previously appeared on the "Crestfallen" EP and also as "They (Will Always) Die" on "Serenades". As with most of the tracks here, it is pared back quite a bit, becoming much tighter and more focused in the process. "Everwake" was already the best track on "Crestfallen", but here it benefits further from the divine female vocals of Anneke Van Giersbergen, the heavier backing and superb orchestration once again resulting in an album highlight. "I made a promise" originally bore its French title "J'ai Fait Une Promesse", but here it loses its female vocal, becoming a soft instrumental.

"Alone" is one of the few songs to be in a longer from here than it was originally (on "Silent Enigma"). On that album, the symphonic overtones were already apparent. Here, the arrangement is actually a little more Spartan, the emphasis being more on the acoustic aspects. "We the gods" once again removes the vocals completely, along with about 6 minutes of the original song, leaving a delightful instrumental piece. "Sunset of age" is the closing track on my version of the album. It makes for a superb finale, with (dare I say) ELO style swirling strings and a heavy back-beat laying the foundations for a strong melody. Here, an excellent lead guitar solo adds a further welcome dimension.

"Falling deeper" sees the band going back to their early days for the basic songs, but then transforming them into pieces that would fit well into their current output. The symphonic orchestration brings out the full beauty of the melodies, resulting in an album that is every bit as good as the bands fine albums from their more recent past.

 Weather Systems by ANATHEMA album cover Studio Album, 2012
4.03 | 870 ratings

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Weather Systems
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

5 stars 'Weather Systems' from Anathema is the ninth full-length album in their discography. The line-up is the same as the last album except for the absence of the keyboardist Les Smith. Keyboard duties are shared by other band members through this album. Where the previous album 'We're Here Because We're Here' (WHBWH) was produced by Steven Wilson and had a more symphonic feel to it. This one is produced by members of the band and, even though it has symphonic aspects to it, it seems to be less noticeable. However, it is an album that is a lot more moving and emotional than WHBWH and "Falling Away". Also, Lee Douglas has more lead vocals than she did in WHBWH, where she did more support and harmony singing.

Immediately, this album starts off sounding a lot different from the last one, with an upbeat track, the first part of 'Untouchables' being driven by an acoustic guitar playing a quick arppegiated chord pattern. Vocals start up quickly and this song gets more and more exciting and intense as volume builds to a somewhat heavy and driving song. The 2nd part starts off much slower with a piano riff and a more emotional vocal. After the first verse, it gets a little more symphonic as Lee Douglas takes over vocals on the 2nd verse. Her voice is a welcome change as a regular in the band since the previous album. Harmonies as both singers join together. This has a nice build in intensity even if it stays at a slower rhythm.

'The Gathering of Clouds' starts with the sounds of thunder and strings. It has a dramatic feel to it with a rumbling guitar and some interesting, contrasting vocals singing different lyrics. It flows into the next track 'The Lightening Song', which is headed by Douglas' voice. This one continues the same feeling until about the 3 minute mark where it explodes into a crashing and emotional climax.

Up to this point, the male lead vocals have been from Vincent Cavanaugh, but the next track 'Sunlight' is sung by Daniel Cavanaugh. His vocals are softer than his brother's, but that fits the mellow feeling of the song. This one, however, has a build somewhat similar to a Post Rock song, especially when it comes to chiming and repeating guitar chords in the heavy climax.

'The Storm Before the Calm' is the longest track on this album at over 9 minutes. This is the only track not written by Vincent as it is actually written by the band's drummer John Douglas. This one has a darker feel with a great intensity that builds in the verses and releases in the dramatic choruses. The feeling is more metallic and harsh, especially during the instrumental sections. There is a sudden release around 5 minutes and things get calm, as noted in the title. There is a build and vocals start again once again building in intensity. This track is very cinematic and emotional, and also an amazing progressive song.

'The Beginning and the End' is more driven by lyrics and piano. It is a mid tempo song that would work great as a single. Great, emotional vocals with another great build up in intensity and an impressive guitar solo before the ending. 'The Lost Child' has the Cavanaugh brothers sharing vocal leads. It starts out ambient with an echoing wordless vocal later joined by strings. A nice piano interlude begins and vocals eventually start. The harmonies evoke a dark feeling using minor 4th key counterpoint (known as the evil interval). As it builds in volume and intensity, the harmonies break out of this interval and become very emotional. Another beautiful piano-led interlude finishes the track off.

The last track is another one that approaches the 9 minute mark. 'Internal Landscapes' starts off with a spoken word section done by a guest artist speaking of a near-death experience. When the singing starts, it's Lee and Vincent sharing lead vocals, singing softly with a pensive feel. It gets more intense about 4 minutes in.

One thing apparent about this album is the amount of emotion but into the vocals where on the previous album, the feeling was more morose. This one is a brighter feel throughout, though most of the tracks are slow at first with a building intensity. This album has some very beautiful tracks, well done and well produced. The album has all the great traits of the last album, but with a more heartfelt attitude. Even after hearing it several times, I put it up there with the bands best, and it easily earns a place among the best progressive albums.

 We're Here Because We're Here by ANATHEMA album cover Studio Album, 2010
4.05 | 863 ratings

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We're Here Because We're Here
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars So, with this album, we are up to Anathema's 8th full album release. They have come a long way from their black metal beginnings. This album is many times more positive and less morose than their previous releases, which tended to be quite dark, even if when they had separated from the heavy sound they started with. The songs now are much mellower, yet they are replete with emotion and passion.

The 3 Cavanaugh brothers are still present, as they have been most of the time through the band's history. Vincent and Daniel still share vocal duties, but they have added another vocalist in Lee Douglas as a full time member of the band. This is the main reason for the brighter feel of this album, but she is an excellent vocalist, so all is good. You will notice her providing harmony in most of the tracks, and with her past guest vocalist duties with the band, it only seems natural to hear her singing as a regular band member.

This album is so well orchestrated and produced. Steven Wilson, of course had a hand in mixing the album, which explains the clarity of every instrument and sound. Interestingly enough, the album does not take on the sound of a Wilson project so much, because of it's positive feel, where most of Wilson's projects tend to be dark. The feel of the tracks is expansive and full, with many places being almost orchestra-like. The keyboards stand out a lot more in the tracks, but don't worry, there are plenty of places where the guitars kick in making the impact of many of the tracks even that much more solid.

Now, with all of this amazing musicianship, there are weaknesses here that weren't as apparent in the previous album, and that is a tendency to get too poppy sounding towards the middle of the album. In addition to this, 'Presence' is an annoying spoken word track with organ supplying back up. Fortunately it is a short track.

Things do get better again after the weak middle however. You know everything is back on track when 'A Simple Mistake' starts playing, and there is a collective sigh of relief. So tracks 4, 5, and 6 might be weaker, they aren't so bad to ruin the album. 'A Simple Mistake' has the feel of one of Pink Floyd's better tracks with a guitar solo that is not only awesome, but very progressive too. And the amazing songs continue after this on through the final track. It's almost as if the band is closer to Symphonic Prog than it is Post Metal.

There is so much to love about this album, and I have always loved Anathema when they are at their most expressive, which happens many times in this album. The weak middle part of the album does bring it down a notch, but for top quality, emotional and passionate music, the rest of the album should not be missed simply because of that. Unfortunately, it takes away from what could have been a 5 star album. When it's at its best, this is still high quality emotional prog.

 Alternative 4 by ANATHEMA album cover Studio Album, 1998
4.05 | 576 ratings

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Alternative 4
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars After starting out as a doom metal band, by their fourth album released in 1998, Anathema has taken steps in the right direction. "Alternative 4" still retains two of the original members, Vincent and Daniel Cavanaugh. Duncan Patterson is on bass and has been since just before 1991, so he's almost an original having replaced Jaimie Cavanaugh. However, the drummer is newcomer, Shaun Steels, and thus this is the only album that does not have John Douglas on it. Steels would only be in the band for this album and John would rejoin to remain with the band until present day. Steels does an adequate job however, it is hard to tell much difference in the sound of the percussion on this album.

So, by this point, the growling vocals have been replaced by clean vocals by Vincent, who sometimes almost sounds like Roger Waters from Pink Floyd. The vocals are definitely emotional and dymanic. Everything else is also in top form, except for one thing, they haven't quite found their sound yet. There are times on this album that are definitely top notch, but for the most part, there really isn't anything much that is progressive here. The band is no longer just doom metal, but more like a dark, hard rock with a lot of slow beautiful melodies mixed in. It's a good mix and a good sound, but it's still not as great as it will become.

Overall, this album is enjoyable, yet very dark and depressing. There is a lot of great heavy guitar here, enough keyboards to keep a certain degree of variety in the sound. Most of the sound that stands out here is in the guitar work, and that is the best part of this album. The band approaches a progressive sound, as in the title track, with some tricky percussion and rhythm, but the meter is still a basic 4/4. Not that this necessarily determines if it is progressive, because there is plenty of great progressive music that is in a basic meter. The songs and lyrics are not formulaic, but they do sound very much like a heavy metal attitude, just toned down to give a feeling of more variables in the music. This leaves the band open to explore some more mellow passages, which they do also.

So with there being a lot of variety in the sound, the songs don't seem to vary much in having their own personalities, they all seem to follow a similar sound. Aside from this, the album is good enough to listen to from time to time. The best parts of the album are in the title track and in "Regret" which coincidentally are the longest tracks on the album. It seems like there is more freedom to explore the music and things aren't quite so rushed. There is another degree added to the album in the bonus tracks that are available on the 2003 remaster. All four of the bonus tracks are covers, and three of those covers are Pink Floyd songs, so there is definitely a degree of their influence in the music the band was exploring at the time. The other cover is a Bad Religion cover "Better Off Dead", so there is part of the Alternative influence. This cover is absolutely amazing and emotional and I just love it. This is a good, heart-felt album, and the movement of the band is in the right direction here, but because of the degree of same-ness on this album, it's a strong 3 star album.

 All Faith is Lost  by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1991
1.59 | 14 ratings

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All Faith is Lost
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

1 stars This demo tape, released by the band, is quite a far cry from what they become. Of course, it is close to their original sound, that of doom/death metal with growling and unclear vocals. Their albums would show marked improvement, which is what you would expect, but even the demo songs here demonstrate the bands talent in the instrumentation department, but not so much in the lyrical and vocal aspects.

As a rule, I don't care for these growling or screaming vocals unless some emotion or some degree of musicality is present, as with Devin Townsend, Opeth or Orphaned Land. But this is not the case in the early Anathema demos and unfortunately in their first EPs and albums. The guitars and the drums here are decent enough, but the vocals and lack of emotion just don't appeal to me. It makes the music sound too much alike and it also takes away from the talent apparent in the rest of the band. These songs are all about darkness and depression, and become increasingly darker as they go on.

"Crestfallen" is the best song on here, it shows off the real talent of the band in instrumentation and emotion, but is still not the easiest thing to listen to, and the EP version would end up being better than this version. "At One with the Earth" and "All Faith is Lost" have awful vocals and cancel out any other sounds that may come from the band. "They Die" is a little bit better, but this one is also on "The Crestfallen" EP in a much better version. It still has the growly vocals I don't like, but again, the best part of the music is the instrumentation here also.

I would suggest not searching for the demo tapes, even if you are into death and doom metal, unless you are a completionist. If you like this kind of music, then look into getting "Serenades" or "The Silent Enigma" or the EP "The Crestfallen". If you like more experiemental or emotional music, then you definitely need to check out anything else by the band, because they are amazingly talented. Their clean vocals in everything released after "The Silent Enigma" don't take away from the music and their ingenuity is much more apparent.

Thanks to ProgLucky for the artist addition. and to E&O Team for the last updates

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