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CATHEDRAL ‘The Garden Of Unearthly Delights’
Nuclear Blast (2005)
Being a fan of Cathedral is indeed a blessing - and this is something that people like myself, who have been lucky enough to be following this band’s career since the early 90's, know really well. During this fifteen year "trip", I have seen Dorrian and Co going through many different artistic phases, always in search of new ways that would help them expand the boundaries of their creativity, yet always retaining the elements that make their music so unique and pleasing to my ears! Does that mean that I should not be surprised by the band's musical experimentations? Well, that's what I used to believe, but that was before I got my hands on the band's eighth studio album, "The Garden of Unearthly Delights".
Even though they are recognised by many as a leading doom metal outfit, Cathedral never managed to enjoy a huge amount of success - not even when songs like "Ride", "Carnival Bizarre" and "Hopkins (The Witchfinder General)" were graciously hailed by the majority of the music journalists throughout the world as metal classics. Was that due to their label's inability to successfully promote the band, or is it simply down to the fact that Cathedral's music is only ever going to be truly appreciated by their loyal fanbase that has been supporting them throughout the years? Well, as far as the first part of the question is concerned, the answer will become more obvious now that the band has joined a label of the size of Nuclear Blast!
I have heard many people commenting these last few weeks on the band's upcoming release and expressing their fear as to whether Cathedral will choose to play it safe now that they are signed with a more powerful label. Well, much to my satisfaction, the legendary quartet has chosen to continue doing things their own stubborn way, and came up with one of their most varied and delightful efforts to date. This ten-track release is going through all the past periods of the band's career, but it also introduces new elements such as female vocals, acoustic/orchestral intros and the longest composition ever recorded by this outfit.
For those of you who feel more attracted to the groovy side of the band's music, songs like "North Berwick Witch Trials" and "Corpsecycle" will definitely do the trick for you, since they have a similar vibe and mentality as old classics such as "Midnight Mountain" and "Carnival Bizarre". If, on the other had, you prefer to listen to heavier doom metal, I suggest that you check "Tree of Life and Death" or "Upon Azrael's Wings" - a song that is full of the "artistic madness" that made Cathedral known throughout the four corners of the earth. The first little surprise came with the melodic, two-minute acoustic intro "Fields of Zagara" which is soon followed by a monstrous classic metal anthem entitled "Oro The Manslayer" - a perfect combination of an early Maiden-influenced composition with a Running Wild melodic feel.
The two songs that are challenging enough even for the most loyal of their fans (myself included) are the unusually-structured "Beneath A Funeral Sun", but most importantly the twenty-seven minute musical monster "The Garden". There are so many "hidden treasures" inside this song, such as female vocals and constant motive changes, that it will probably take you ages, and plenty of spins, in order to figure out exactly what's happening there. The one thing that is quite evident, and safe to say even at such an early point in time, is that Cathedral have managed to create a progressive doom anthem of unique quality that only a band with their leading skills and musical charisma is capable of producing.
Up to this very day, I have never managed to find a reason for not respecting and supporting Cathedral on every level, but with the release of "The Garden of Unearthly Delights" they have showed the rest of the world that they are capable of creating a very appealing album without having to sacrifice their artistic vision. Now, how many bands do you know capable of doing that nowadays?
*****
Review by John Stefanis
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