Pentecost III

The North of England is a fitting setting for melodic and gothic doom metal to have gained a foothold. Land of the perpetually downtrodden, self-assured yet hard done by. Boasting many proud cities that still embody the drab spectre of England’s industrial past. But also the gateway to the country’s finest natural landscapes, both charming and pastoral whilst hinting at the closest thing England has to wilderness. This tension between crushing and grey mundanity found in the urban heartlands of Leeds, Bradford, Manchester, and Liverpool on the one hand, and the spiritually enriching landscapes of the Yorkshire Dales, the Moors, the Lake District and the Pennines is folded neatly into many of the metal bands that arose out of this corner of the globe. Although stylistically it grew out of death doom, it quicky developed an affinity with goth, thanks in no small part to the North’s strong claim as the home of UK goth. Whitby, Bram Stoker, The Sisters of Mercy; the exact narrative linking the contemporary goth movement with deeper history currents may be contested, but the agreed facts form a pattern too striking to ignore.

Next to My Dying Bride and Paradise Lost, Liverpool’s Anathema are somewhat the runt of the Peaceville three litter. Their debut ‘Serenades’ (1993) is one of those glorious meetings of creativity and lack of experience, something that usually invites adjectives like “charming”. ‘The Silent Enigma’ which followed in 1995 was certainly a more self-assured affair, but lacked the bold swagger of ‘Draconian Times’ or ‘The Angel and the Dark River’ that their label mates were throwing out at the time. But then there’s the ‘Pentecost III’ EP released that same year (although recorded in 1994), that arguably outdoes all the preceding works for a purer statement of gothic infused death doom. It may be an EP, but at over forty minutes in length it’s a significant work in its own right, one that takes the time to develop ideas over the course of its lengthy five tracks, emphasising the powerful manipulation of traditional melodic structures – a key strength of the genre – whilst still leaving plenty of room for blunt heaviness to take over at key junctures (see the ‘We, The Gods’ for example).

And the key to this EP’s success is just that, the harnessing of epic doom metal, touches of Fields of the Nephilim style goth, to straight up death/doom riffs; all are carefully brewed together into longform compositions, making use of these diverse antecedents to re-iterate the same refrains and passages from differing perspectives. There is a vulnerability to this music that feels entirely authentic, resulting in a mood that the listener can become totally immersed in without self-indulgence or tacky sentimentality. The guitars veer from a throbbing, bass-heavy distorted tone to clean and delicate arpeggios which are given almost as much airtime as the full-blooded metal riffs. Drums offer a loose, swinging rhythmic foundation, accenting the droning chords with plenty of clattering cymbals and protracted fills. Darren White’s vocals tentatively meander between low-end Carl McCoy style histrionics and aggressively guttural death metal barks. In this setting, where all is melodrama and emotional range over showy technical ability, this vocal approach is entirely fitting.

The reason the fine balance of influences works so well on ‘Pentecost III’ is the way that Anathema have pieced together the flow of one track into the next. The first half is defined by passages of mournful melodic threads picked out on clean guitars, which are extended out to a duration well beyond normality for death doom. The metallic elements are visible on the first two tracks for sure, but they are presented as antagonists to the fragility of the central themes and momentum of the music. The Candlemassesque riffs that do jump out follow in the same melodic framework as the sombre clean guitars, picking up the narrative with the help of greater rhythmic urgency.

But then things reach a turning point with ‘We, the Gods’, which structurally is an overture, but in its context at the heart of this EP acts as a transitional piece, followed as it is by the instrumental title track which functions as an interlude and preamble to the most “metal” track on this release, the closing number ‘Memento Mori’. By this point the fragile melodicism and pained rumination to the vocal delivery have given way to the percussive and physical aggression of death doom that wraps up this EP.

Taking the virtues of the sombre, gothic drenched doom metal that was being churned out at the time, Anathema are simply in a different class. It is at once more immersive, more diverse, more experimental yet still a fully realised, unified vision, and arguably offers some of the best moments of the genre full stop.

Originally published at Hate Meditations

By 1995 each of the Peacevile three bands had gone their own way. My Dying Bride replaced their gruff, death metal with a more romanticized sound while Paradise Lost were enjoying commercial success with their rocking goth output Draconian Times. Anathema were the last one of the trio that still operated in doom/death metal mode, this time concerning more about divine and epic themes than personal struggles - bringing to mind vivid images of Gods watching from above while morals destroy each other.

For a long time I didn’t get the appeal of Pentecost III and in hindsight I can see why. Anathema were never a riff-oriented band and while they get some action going on here (more on that later), this EP is rather dense. ‘’Kingdom’’ features a deceiving guitar fade trick, but it quickly becomes clear the track gradually unfolds itself through hypnotizing acoustic lines and trance-putting melodies before things slowly get heavier. Likewise, ‘’We, the Gods’’ shows the band at their most multifaceted here – kicking off with some dreamy guitar segments before creating the images of God-driven warfare as things become heavier, while finishing off with some of the most Iron Maiden-esque harmonies you’ll ever hear on a doom/death metal track.

Pentecost III isn’t devoid of any heaviness, however. Occasionally the Cavanagh brothers unleash some of their most physically oppressive riffs that blend in nicely with the more melodic themes. ‘’Mine is Yours to Drown in’’ might feel a little threatening as it instantly goes for the attack with sledgehammering Celtic Frostian riffs, leaving only space to breath after the bizarre vocal harmonies near the end have faded. ‘’Memento Mori’’ shows the band at their best – as it maintains the healthiest balance between actual riffs and atmosphere; gradually unfolding (I know, again!) itself as something truly sinister. Darren White sounds as if he’s just got possessed and gets backed up by evil keys and eerie leads before the demolishing riffs end the track with a serious bang - not unlike the heaviest up-tempo riffs one might recognized from Paradise Lost circa Gothic – recalling again Celtic Frost.

It’s not without flaws I’m afraid. I find the climax of ‘’Kingdom’’ to come off slightly unimaginative, as Darren White's repeated shouts feel somewhat out of place, causing the last two minutes to be rather unnecessary. ‘’We, the Gods’’ seems a little rushed as I could have done with an expanded heavier section instead of a brief crunchy gallop. Lastly The contrast between Darren White’s barks and spoken passages also isn’t exactly an advantage. Although the harsh vocals work, his one dimensional speaking parts aren’t the most convincing out there, for obvious reasons (a problem more vocalists in this style suffered from, truth to be told).

One can only wonder how a full length album of this style would have turned out. Anathema were never my favorite of the doom/death metal camp, but if I were to recommend one album by them, I’d say Pentecost III is your best bet. Now if you’ll excuse me, I’ll search for the prequels of this EP. Surely they must be out there somewhere, right?

Anathema's Pentecost III, though recorded and scheduled for release in 1994 was delayed until spring of '95 and marks the end of Darren White's tenure as the band's vocalist. It is a relatively short entry in the band's back catalog, consisting of only five songs even if it still manages to surpass a forty-minute run-time. Anathema is a band that has had many faces during their nearly three-decade-long career and they've been praised during all of them. And this EP is no exception -- really, from what I've seen this is their most well-received work during their early days as a highly influential death-doom metal band. Personally, I tend to gravitate towards their late-nineties alternative rock/gothic metal material, and the progressive/atmospheric stuff they've been doing in the modern day, and only listen to their early albums due to a morbid sense of obligation (as a gothic metal fan), and here's what I found:

I'm not gonna bullshit -- I like it, but I do feel it's a tad overrated. Pentecost III is really good when it's good but errs on the side of long-winded, and tedious at worst. My mixed feelings are mostly caused by the structure of the songwriting, and by the man of the hour, Mr. Darren White himself. Lead by the guitars, the music is somber and highly melodic. The lead guitar parts drone on in these airy melodies that are very pretty and emotive, with cleaner rhythmic countermelodies playing underneath it and a light hinting of keyboards to add to the eerie atmosphere. All together the effect is breathtaking, but when you get four and a half minutes into a ten-minute song with little to no variation the feeling sours into annoyance. Even when the band explodes into driving tension in the latter half of some of these songs ("Kingdom" and "We, the Gods" are the especially guilty of this song structure), it feels disconnected and unearned -- even if this is some of the best songwriting of the whole album.

This problem, to me, is also exacerbated by the vocal delivery. I admit, I'm a bigger fan of music with a larger vocal presence, and Pentecost III is not that at all. Which is fine, it's something that I've gotten over in the past for other bands and releases, but the part that bothers me most is the way Darren White delivers his vocals. This might not be a sticking point for other people, but to me a death-doom release should have predominately death growls. Here, we don't get any until the third track. Instead we're subjected to slow speech, completely void of emotion or nuance where almost every word. is. disjointed. from. the. last. Have you ever met someone who's so slow on the uptake that they constantly have a blank expression on their face and speak unreasonably slow? That's the kind of vocals we're dealing with here. There are some cool vocal harmonies on "Mine Is Yours to Drown In (Ours Is the New Tribe)", but other than that the vocals on the first sixty-percent of the album is lackluster at best, actively stressful at worst.

Then everything gets better, starting with the four minute instrumental title track. An amalgamation of everything the band does right, it starts with some hypnotic guitar melodies before everything comes crashing down with cacophonous brutality. It holds nothing back and then fades out before it gets the chance to overstay it's welcome. It was a turning point and when the last song started and I had a feeling it wasn't going to be anything like the songs before it. And oh boy was I right. "Memento Mori" is hands down the best song on the EP. It has a lot more motion and actually feels orchestrated in its slow heaviness whereas the rest of the release feels more like meandering. It is also the only song to be sung mostly in harsh vocals, and the spoken verses are actually rhythmic. It just feels right. And then the hidden tracks "Horses" and "666" close the album in an equally triumphant way, a pretty bow to wrap it all up.

I can understand why people are drawn to this sound, death-doom of the early 90s was definitely interesting in conception. A lot of it -- especially the "Peaceville Three" -- was aesthetically and lyrically very flowery and poetic for a style of music that wasn't so much previously. This EP is a mixed bag of sorts. I respect it and I can jive with it, but I can't imagine myself choosing to listen to this over any of the band's later work. Take that with a grain of salt as I've already laid out my biases, but this sound just didn't connect with me as strongly.

'Serenades' was released in 1993 and although it was a significant moment for Anathema and death-doom, it wasn't the band's best work. In my opinion, it failed to reach as much significance compared to the bands EP 'The Crestfallen.' The band needed a change and felt that Darren White wasn't working too well with the rest of the bandss evolving creativity. During the brink of Darren White's Departure, the band recorded and released their second EP 'Pentecost III', Anathema's final release before White says goodbye to the band. This EP is underrated, but it's also amazing, showing improvement compared to 'Serenades' from all forms of its music. From the moment I first heard the first track, Anathema finally delivers some authentic dark and creepy sounding death-doom music incorporating the band's signature combination with gothic music. It's also a more proper close to Darren White's time in Anathema as the band prepares to fly solo without White.

'Pentecost III' musical direction shows Anathema at it's strong point, giving more improved darker tone to its music. Like 'The Crestfallen', 'Pentecost III' manages to be unique in incorporating gothic elements that the band has been best known for in its death-doom music. However, Most of the tracks off the EP do not have keyboard/synths to give the EP that atmospheric sound as in its last two tracks 'Pentecost III' and 'Memento Mori', the spotlight belong to the guitars. The majority of 'Pentecost III' guitar approach features crushing and dark sounds that give the EP a much heavier tone and has good unison from both Vincent and Danny Cavanagh's guitars. Songs like 'Mine is Yours to Drown In (Ours is the New Tribe)' and 'Memento Mori' sounds like proper death-doom and even gothic metal songs thanks to that heavy distortion sound from one side and chorus on the other. The drumming and rhythms heard in the EP is also very moving and catchy. It sounds so punishing hearing songs that I've mentioned earlier because it has slow parts with just right tempo changes that it also gives that blend of leaning more towards death metal. I can argue that this is John Douglas best work in all of Anathema's career because it had diverse tempos and rhythms that can appeal to even death metal fans. Plus the drumming is not too raw as well, which is good for 'Pentecost III' because the recordings heard from the drumming gives the EP that much more darker tone. What qualifies as gothic sounding is the presentation with its synths, quiet and eerie parts where the guitar sounds depressing, and of course the improved instrumental of the title track where it sounds epic and bombastic in its heaviness and atmospheric guitars.

Darren White's vocal approach has also improved. Unlike 'Serenades' where it sounds like White didn't bring power to some of the songs that would have made for some good death growls, 'Pentecost III' showed Darren White as his best during his time with Anathema. The growling has grown darker and more sinister as compared to Anathema's previous releases and also takes over with the muttering parts heard in 'Kingdom' and 'Memento Mori.' The grunting shouts heard in some of the songs in 'Pentecost III' also give a good touch of anger that makes it sound like suffering. The clean, but muttering sounding vocals also gives the album more dark depression as if it was also telling the listener that they are also suffering misery. This is something that Darren White could have done in the past. However, rather showed the improvement once it was time to leave Anathema.

The lyrical content is also very diverse. Some songs have showed a more poetic and skillful side that gives 'Pentecost III' extra points, for adding more emotional touch with its music. A great example is from 'Kingdom' and ' Memento Mori.' 'Kingdom' in particular matches really well with its dark and goth/doom sounding atmosphere along with skillful poetry.

"Among flocks of non-white doves
And non-temptable mortals
The kingdom is much more real
And the beauty is endless
Only when tightened beyond recall
Is your necklace a blessing
Leave your pearls in the sea
You undeserved bitch
You are not worthy of such a treasure"

The combined lyrical themes, musical landscapes, and Darren White epic and depressing vocals make the song a beautiful and epic beginning to an EP. In 'Memento Mori' it talks about mental tendencies, death, and morality in a very poetic and sophisticated way. Instead of just going straight to gut and saying simple stale lyrics that is commonly heard in death metal, it manages to make the song sound less of a cliche and more of unique kind of death metal.

'Memento Mori' is my favorite album off 'Pentecost III' and its direction is considered Anathema's creepiest sounding songs. As I mentioned before, it has really good tempo changes and rhythms that appeal to death metal fans, plus adds a more crushing sound to it's drumming. It has some really good vocals from Darren White where he mutters in some parts of the song then uses his dark death growls that really blend well with the song especially after the tempo change. 'Memento Mori' perfected the inclusion of gothic overtones in death-doom's already creepy atmosphere and made the music really creepy thanks to the synth sounds heard in the EP. The song is a good example in how to blend gothic metal music with death-doom music, something that a few metal bands have done especially in the realm of death-doom.

Once Darren White left the band, Vincent Cavanagh would take over as vocals and release 'The Silent Enigma' the same year. Although I consider that to be a great record, I will say that Anathema's time of doing death-doom right is in 'Pentecost III.' The EP have me wanting to listen to more Anathema and helped me discover more magnificent music during the band's death-doom era. Out of all the death-doom releases Anathema had made between 1992 to 1995, 'Pentecost III' is the pinnacle point for the band where at the time it seemed unknown between Anathema and Darren White. My reason for not giving 'Pentecost III' a perfect score is because of the instrumental even though it still sounds terrific, I have a tendency to skip the song in the EP. Another reason is the fact that Anathema would release another record a year later that sounded as amazing and inspiring then this EP. 'Pentecost III' is a very underrated piece of work providing pure aggressive music from a band that has evolved over the years. This EP should be listened to more from anyone looking for gothic, doom, death-doom, and even death metal music.

First of all, let's forget the whole EP/album thing, because that's not really helping Anathema or 'Pentecost III'. This release consists of 4 long songs and a shorter instrumental, leaving it partway between the two at a little short of 40 minutes (disregarding the hidden songs), which, if anyone was paying attention, is barely less than the band's debut album, clocking in at 42 minutes. Also, on a different note, if this is the third Pentecost, what happened to the other two? Whatever.

Anathema's style changed very rapidly in their early years and this release is not really that similar to any of the band's other work, though it shares more common ground with 'The Silent Enigma', which was released later the same year. 'Pentecost III' shares that album's preoccupation with atmosphere and morose subjects, the heavy guitars often refracting into delicate, contemplative clean sections that meander gradually, rarely rushing quickly onto the next movement, but instead progressively morphing into a new shape. As such, the doom metal influence here comes more in the form of pace, mood, and subject matter than actual grinding and trudging guitar riffs, which makes atmospheric success even more crucial. What Anathema do well here, and what also made 'The Silent Enigma' a worthwhile listen, was craft a very full sound that sounds broad, distant, and, if I may use such a term, shimmering, as if it the music were a huge mirage spreading across a dreamlike horizon. This is manifestly fitting for the subject matter about vast mountains, ever-present death, and the wrath of the gods, so the wide-screen quality plays to the band's favour.

On the other hand, songs recorded in the doom style should probably have something to hold the listener's attention beyond atmospheric features, which Anathema were never quite masters of, perhaps leading to their gradual shift of styles during the early to mid 90s. Even on 'Serenades', the band's debut, the riffs were often lacking in memorable qualities and frankly showed an inability to craft much of note beyond slow chugs and irritatingly percussive fills. The same thing happens here, with few heavy riffs really grasping out beyond the gentle sound, while those that do are never quite utilized to build up the songs, more as stand-alone parts. The rhythmic lurch that ends 'Kingdom' is fairly satisfying, though certainly doesn't maintain the mysterious atmosphere of the song's early portion, but the first four songs barely have 5 minutes of heavy music between them, pushing further in the band's future progressive direction. 'Memento Mori', however, plays like a song from earlier in Anathema's career and contains the most traditional guitar theme, creeping along at sinister low-register for several minutes, though still throwing in an ugly chug at 1:35, which goes nowhere and spoils the slow menace that is otherwise well-developed. This softness could be troublesome for metal fans, though for those with sufficient patience or an appreciation of prog rock structures, there may be something more on offer.

The Cavanagh brothers were always more successful at constructing wistful melodies than riffs, so it should be no surprise that most of the material here is decorated by spiralling guitar parts, often in the background rather than the foreground, which do a great deal for the mood, even if - from a musical point of view - it might have been nice to see them emphasized more. When, towards the end of 'We, the Gods', the band break into a united melodic movement, it sounds great and the heart swells to follow them, but all too often the quieter ideas are undone by their own simplicity and become boring rather than reflective or moody, as is the intention. The beginning of the same song, for example, is built around a ponderous bassline, which is joined by shimmering (there's that word again) feedback while Darren White leads us through most of the song's verses in one long narrative. At once, this is the greatest charm of 'Pentecost III' and its weakness, since the 3 minute section contains only one musical idea, yet it draws it out to a length that lies on the borderline between epic and tedious - slow and trudging and grand can fall on either side of that line. White's voice isn't quite emotive enough to really propel those sections, although he sounds suitably morose and serious, so the band occasionally slip into mindless repetition, meaning that some of the longer songs, particularly 'We, the Gods' and 'Memento Mori' might have benefitted from a little editing.

In all, 'Pentecost III' is a decent release that suffers from its uncertain status. If it were half an hour long and a certain EP, perhaps there would be less opportunity for the listener to feel tired with the slow progressions, while if it were made into a full album at 50 minutes or more, the atmosphere would have more scope to unfold gradually and the ideas more space to come to fruition. As it is, there is some good material here, even if there is little visceral content for more traditional doom metal fans. 'Pentecost III' is a brooding and contemplative prog doom chapter, though doesn't manage to tell the whole story.

The aim of music as a communicative artform is to present its thematic content in such a way that its expression transcends the particularity of context-specific events in order to portray universally acknowledged and eternal truths of internal and external experience. Anathema are experts in this art; choosing not to avoid the individuality of subjective experience, but to transcend it towards the universal by going straight through it in a process of honest self-analysis, the music of Anathema offers a very real and penetrating experience that involves painful awareness and soul-searching reflection, complete with the paralyzing fear and dread essential to the success of any doom metal album, but beautifying the experience through abstract compositions of dramatic movements and fluid harmonic development in the classical tradition, with a fantastic talent for the arrangement of grippingly sorrowful melodies, and production values that supply a refreshing presence of warm, organic sound.

On Pentecost III, Anathema’s songcraft has become more epic in both duration and structure, featuring lengthy instrumental passages functioning like ambient soundscapes, the abstract nature of these songs providing a vast spatial quality which allows for the gradual establishment and sustainability of atmospheres ranging from tranquil to gothic, as well as more flexibility for the vocals which have evolved into a compromise between growling and moaning, still expressed with a lamenting spirit suitable for the somber imagery of the esoteric lyrics, with far less presence than on previous efforts, but the vocal phrases benefit from this more wide-open style of composition, propelled by a rhythm section of melodic bass-playing and a hard-hitting, physical, and dynamic drummer, whose playing, even during the slowest of movements but especially in more rhythmically urgent sections, remains thunderous and crashing, providing a foundational power in both sound and momentum. The guitar sound manages an intriguing balance in atmospheric sound with something peculiarly ethereal in the distorted feedback which envelopes the nostalgic riffs, interacting with the resounding energy of the rhythm section to produce a harmonious contrast between the serene and bombastic, clashing the dream-world with harsh reality in a unification of desire and purpose, transitionally flowing in arcane arrangements allowing yearning guitar melodies and solos to emerge like radiant sunlight through dark clouds.

"We do not need to climb a mountain
Or to cross unknown lands.....
....... Because we are Gods
And we will drown you
We will burn your homes"

The overall quality of the music’s design, execution, and impact reaches the pinnacle of doom metal, Anathema bringing to the genre a profundity of pure feeling the personal sincerity of which would be a challenge to find equaled in any kind of metal produced previously, simply because Anathema get deeper into themselves in order to discover universal truth, an inner exploration and analysis that is uncommon in this degree in metal of any style, and a seriousness towards their thematic content that is both humbling and transcendent, realizing its ultimate expressive potential in the mercilessly foreboding “Memento Mori”, a song of such Stygian proportions that its spirit could only have been conjured from the most terrifying of ancient times, the suspicion would be confirmed; the band’s compositional ability to stretch out expansive and beautiful melodies, and their artistic imagination towards the creation of captivating atmosphere, aided by soul-stirring guitar solos and delicate acoustic guitars contrasted with monumental rhythmic weight and dark, despondent riffs produces beautifully tragic and powerful music. Songs flow in seamless transition which gives the music a natural course of motion producing immersible atmosphere through a visionary structure of single compositions and the album as a whole, in turn creating music to be experienced rather than merely listened to.

Pentecost III is officially an EP, numbering five tracks (with a sixth hidden track) in a little over forty minutes, but its content is an essential piece of Anathema’s discography as it reveals important developments in each vital component of the band’s approach, which prepares the listener for the following effort, The Silent Enigma; but this work also carries importance for doom metal as a whole, because it not only manifests the essential elements of the genre, but delves deeper into those elements both aesthetically and thematically than perhaps any doom metal work that came before it. The work of guitarists Daniel and Vincent Cavanagh shines on this release, their unique usage of feedback for ambient affect, the talent for creating riffs that equally embody the spirit of dejection and hope, and the gorgeous, soulful lead playing make this band’s work one of the most compelling experiences of passionately expressive and moving music.

Now I usually don’t keep EPs, let alone download them, but the sheer melancholic beauty with this five track monolith deserves listening. I thought it was an album before checking it out here, so any joke is on me. “Kingdom” alone hooked me in with its highly romantic, yet empty build-up – that of which destroys worlds with each passing second. The effort put into each note and the echo it lays across the universe brings the scope of the EP past the plateau that many albums strive to reach; doom at its finest. Towards the end of the song it boiled down to straight power, losing its atmosphere.

The rest of the release didn’t have such a killer impact, but its authority was still grand. The songs have an overwhelming tone – like in the second track’s bridge or “Kingdom”’s aforementioned build-up. The riffs are thick, bellowing, and distorted enough to surround you and sometimes even your surroundings. On top of this we have the clean guitar tunes which capture whatever innocence we can find in such a monstrosity. The biggest impact (yes, another trait) comes from White, who creates the ultimate sense of gloom and leaves no emotions untouched. Sometimes they come off as sluggish and weak like early in “We, The Gods,” but that’s cause the song drags on like crazy. In “Kingdom” his mournful cleans sound majestic and honest. The growls are ok, but really lack the demonic touch and are only utilized during heavier parts.

Adding to the groove factor is the bass, but the guitar plays a greater role in the heaviness. Drums also lack any true distinctive qualities worth mentioning, so I wouldn’t go in expecting anything special from them. Regardless, the sound is unified and overall consistent with the bleak theme. Somehow I enjoyed the rhythm riffs moreso than the lead as the EP progressed, but it still is a spectacle worth remembering. The leadwork has the more symbolic and classical touches than the churning rhythm.

So yeah this EP is a keeper; it’s the rare breed that adds more character and says more about a band than most full-lengths. As much as I butchered it, the atmosphere and solace it gave upon first and subsequent listens allowed me to get into the band. This would be the last album for vocalist White, but it isn’t that much of a change from the immediate releases thereafter. It’s a great middle ground for newcomers and doesn’t disappoint for old timers; coupled with its initial addiction factor, it might just beat weed. Nah, fuck that weed conquers all…

Art comes in many different shapes, sizes, packages, etc… but it rarely comes in the form of music. While many “musicians” claim to be “artists”, less than a handful truly are. On this recording we see that music can be art and that it can also be heavy and moving.

This is arguably the bands best recording as it’s full of emotion on both straight forward and abstract levels. It’s truly a poetic movement from start to finish; even when the music is playing without the vocals the music has such a weight to it, that it’s unreal.

The production is pretty good (certainly their best to this point) and as such makes the music standout even more. The guitars are massive, monolithic and balls out heavy; however they are very melodic and harmonize in interesting places. They drone and yet never stagnate. There is certainly enough crunch to open chorded parts to appease all walks of Metal. The amount of atmosphere that is created without the usage of keyboards is astounding to say the least. There is even a solo of sorts on track three ‘We, the Gods’.

The bass wanders around the drums, both of which are near trance like with combined with the guitars. The vocals (the last to be heard from original vocalist Darren White) fit perfectly with the ponderous nature of this sprawling release. This is where he created the “moody” clean vocals that are still used by various Doomdeath/Doom Metal bands to this day. He only really growls on the last track, the rest is cleanly moaned/sung/shouted.

If there is any complaint to be had it is that this is only an EP and not a full length. This album is almost indescribable. It’s epic, mournful, and ponderous, yet it leaves the listener with a sense wonder and longing. The lyrics are rather abstract but fit in a beautifully poetic way. This is one of few instances (in the history of music) that a piece of music can truly be called ‘art’ without being clichéd.

Along with the dawn of an era, behold the dawn of a great band. Ladies and gentlemen, let me present you Anathema. Yes, I know this ain’t their debut album, but definitely it is the first one that can stand proudly next to “Silent Enigma”, “Alternative 4” and “Eternity” (since we’re talking metal here. Their alternative era is another glorious tale).
In 1994, and according to the booklet, a tragedy befell over the band members. If I am no wrong, some friend of theirs died in a car accident while he was way too young. This unfortunate event created this beast-dressed-in-black called “Pentecost III”. This album could truly be the soundtrack of a funeral ceremony. It is the most intense, obscure, grieving album I’ve ever laid ears on. The psychological condition of the band is absolutely reflected in these 5 songs of woe and sadness, while “Kingdom” starts the funeral march with its acoustical, dreamy intro. It begins to build up then with the entrance of heavy, low tuned guitars following the same rhythm as the intro, while Darren White wails his way in. And so the bleak voyage begins.
Good Lord, this guy is exceptional. His vocals truly show the voice of a man who mourns the loss of a beloved one. He is ripping my heart apart every time I listen to this album. His lyrics are also in the spirit, desperate, agonizing, obscure and doomy.
“Kingdom” moves his way further, as White speaks the famous “Only when tightened beyond recall….” verse. By that time, the Cavanagh bros begin to show their guitar potential with a MARVELLOUS, SPLENDID riff that begins to emerge through the ashes of the grave. The song meets its crescendo with White crying out the end, and by the end of the nine minutes, you are left astonished with the power and the desperation that this band can express. “Mine Is Yours To Drown In” is another really great song, and while it cannot be compared to “Kingdom” or “We, The Gods”, its quality is not to be underestimated. And then, there was despair. “We, The Gods” starts and begins to tear up everything in its way. Harsh power or a mournful cry to God, an elegy of bitter tears or a destructive symphony of nihilism? I really can’t answer that question, I just listen to that song over and over again. I suggest the same.
The drapery falls with the short instrumental “Pentecost III” and then the glorious “Memento Mori”, a song that is probably even more woeful than the previous ones. More doomy, less melodic, heavier and harshier, Darren White shows his deathmetal roots here with growling vocals and lyrics that bring images of loss, death and unstoppable mourning.
To sum up then. Anathema have two eras, two styles, aye? If we accept (accept it, this the sheer truth) that the end of their first era, “The Silent Enigma” is the best of that one, then “Pentecost III” gets the silver medal with no particular perspiration, easily. Its emotion, its deep pain really get you entangled in a obscure journey through desperation, death and tormenting life. And since I have already told too much, one word is enough to describe this one: Desperation.

I’ve heard countless things said about Anathema and how good they are. After hearing a few tracks, I just couldn’t understand how they were so great. That was, until I heard Pentecost III. The vocals on this album are fronted by Darren White, instead of Vincent Cavanagh. Darren’s vocals fit perfectly with the atmosphere and music on this album. He gives of a wailing that sounds very emotional throughout the album. On Memento Mori he growls bit, but does not forget his wailing vocals. The guitars are all handled excellently also. The melodies on this album fit perfectly with the heavier riffing. The rhythm section is also very solid. The production also fits the album perfectly.

All songs on this album are great, but the highlights are definitely Kingdoms and We, the Gods. Both create a very depressive and suffocating atmosphere for the listener. Pentecost III is a nice instrumental that leads perfectly into Memento Mori which is the most aggressive song on here. All tracks have one thing in common, they have a doomy atmosphere.

Over all Anathema have managed to create one very doomy album on this one. After listening to this masterpiece, you can only wonder what else this line-up would have created. Truly a Doom metal classic.