Eternal Silence: Timegate Anathema-2021.

Eternal Silence:Symphonic Gothic Metal from Italy.


Darkness and RegretEP2010 
Raw PoetryFull-length2013 
Chasing ChimeraFull-length2015 
Mastermind TyrannyFull-length2017 
Metamorphosis 2008-2018EP2018 
Ancient SpiritSingle2021 
Glide In the AirSingle2021 
Red Death MasqueradeSingle2021 
Timegate AnathemaFull-length2021


Alessio SessaBass (2008-present)
Alberto CassinaGuitars, Vocals (2008-present)
Marika VanniVocals (2008-present)
See also: ex-Blut
Andrea ZanninDrums (2017-present)
See also: Volturian, Molllust, ex-Festhouse, ex-Mallakes
Martino BoneschiGuitars (2021-present)
Katija Di GiulioViolin (2021-present)

Past Members:

Davide RigamontiGuitars
See also: ex-Sakem
See also: ex-Crazy Slaughter, ex-Aeternal Seprium
Mario DamaGuitars (2008-?)
Davide MassironiDrums (2009-2017)
See also: ex-Vigdis
Enzo CriscuoloGuitars (2019-2022)
1.The Way of Time06:59 
2.Edge of the Dream06:00 
3.Ancient Spirit05:31 
4.Heart of Lead05:41 
6.Glide in the Air04:06 
8.My Soul Sad Until Death05:36 
10.Red Death Masquerade04:51 

One thought on “Eternal Silence: Timegate Anathema-2021.

  1. bayern, October 19th, 2021

    That’s a really good example of the “changing of the guard” postulate: a gifted outfit that sprung up at around 2008, just when the veterans and compatriots Lacuna Coil started losing it with the terrible “Karmacode”. These folks operate in a similar niche, the gothic metal one that is, but their delivery is both more expressive (read also symphonic) and more intense, with frequent elopements towards the power/speed metal realm; a really tasty conglomerate naturally spearheaded by a diva behind the mike, a steady composed, suitably emotional croon not far from the one of Cristina Scabbia (the Lacuna again).

    The first two works (the EP and the full-length) were inspired but slightly rough-around-the edges affairs which still handsomely introduced the main delivery, bouncy muscular music with frequent lyrical stretches, an appetizing symbiosis that was brought to near-perfection on the excellent “Chasing Chimera”, with all production and other flaws categorically smoothed out, the increased application of the keyboards by all means working to the musicians’ advantage. “Mastermind Tyranny” was more laid-back, with bigger romantic sensibility applied for the sake of the razor-sharp riffage, but was another confidently-executed slab with several instantly memorable moments.

    The album reviewed here is a nice return to the more aggressive ways of execution from the sophomore, and is almost as compelling. There’s this conscious attempt at a more complex, progressive song-writing (“The Way of Time”, “Edge of the Dream”), these longer more elaborate compositions placed at the beginning, but the bigger ambition exhibited with those doesn’t turn into a dominant leitmotif, the guys (and a girl) bringing the effective down-to-earth attitude with the dynamic lashing shredder “Ancient Spirit”, an emblematic song with the supremely catchy chorus, the melodic diversions, the fast-paced escapade, the modestly applied keyboard background, and the insistently pounding rhythm-section. Although the remainder seldom deviates from this formula, it’s really hard to blame the band for sticking to such a workable effective approach, with everyone doing a very good job, including the male vocalist who here is less frequently present compared to the mentioned “Chimera”, giving bigger depth and gravity to the balladic respite “Lonely”, among other relevant albeit brief appearances. The thing is that poignant romanticism doesn’t get instilled anywhere as the genuinely quiet moments are not many at all, the heavy doomy “Rain” seeping with suppressed energy, and “My Soul Sad Until Death” stirring a near-thrashy vortex on top of some of the greatest choruses to ever come out of Italy.

    All good, no need to be adventurous when you’re not sure if you wouldn’t mess it up, think Lacuna Coil again, the band treading confidently on a familiar path, one which did digress towards mellower waters on the preceding opus, but rest assured that this is the exact opposite to the downward spiral descents witnessed in, say, the The Gathering and the Theatre of Tragedy camps, to stick with the female-fronted formations… there’s more life to such a delivery as both the confrontational and the atmospheric currents still find propitious points to intercept without rudely dashing each other, and another go at it, without too drastic cosmetic alterations, would only increase the band’s appeal. I’d like to stress on this memorability factor once again: it’s not easy to find a band that use the chorus to such a profound effect; even when sometimes the impression created is that the entire piece has been centered around it. For this particular technique to work one needs a very strong presence behind the mike, and the latter has been ensured all over, the girl, the name Marika Vanni, always reliable including on the several soprano-like frequencies attempted.

    Eternal silence should not be even remotely entertained as an option in this camp; there’s still quite a bit to be said and done, and surely the guys (and a girl) know how to deliver it. If the dark gothic world doesn’t claim them irrevocably, there’ll be more rowdy riffage and boisterous speedy tunes to disturb the brooding atmospheric clout under which this outfit comfortably reside.


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