Released April 2010, on Nuclear Blast.
After a five year hiatus Doom Metal hard hitters Cathedral returned with their ninth studio EP and their first double album The Guessing Game; their most eclectic record yet, merging Metal, Stoner Rock and 70s Prog Rock into a mind bending slab of Doom Metal. What is most evident on this new EP is the wide range of instruments the band uses to capture their sound ranging from sitars, flutes and organs. These give the album a surreal and psychedelic quality which linger in the mind.
The opening track ‘Immaculate Misconception’ is a stomping instrumental with unsettling keyboards and haunting violins which perfectly establishes the tone of the album. As the track fades out the head banging riff of ‘Funeral Dreams’ kicks in and the listener is whisked away to a trippy and dark alternative reality. Here Lee Dorian’s lyrics switch between the fantastical and the macabre, and are complemented by the strong riffs created by guitarist Gaz Jennings.
Other stand out tracks on Side A include ‘Painting In The Dark’ with its groovy, foot tapping bass riff and ‘Edwiges Eyes’ which opens with a haunting black magic prayer, creating a morbid atmosphere which later pays homage to Black Sabbath with its massive Sabbathian style riff.
As the trippy, drug fuelled final track ‘Cats, Incense and Wine’ fades out the listener has been taken on a galactic journey and offered glimpses of strange and often unsettling worlds. While side one is in tune with Stoner Metal side two is a gargantuan Doom treat as it offers slow and heavy riffs.
With side two opening with ‘One Dimensional People’ part drum solo part instrumental, Brian Dixon’s drums batter the listener until the crippling guitar riff kicks in. Much like 'Immaculate Misconception', this sets up the tone of Side B. ‘The Casket Chasers’ kicks in with a contagious riff and walloping drum beat, while Dorrian’s lyrics focus on society’s fascination with the afterlife.
The stand-out track on side two is ‘Ghost Ship Of The Blind Dead’ which opens with a trippy, stoned fill effects and a bowel moving bass note, which shortly kicks in with some catchy guitar. The track is reminiscent of ‘Night Of The Seagulls’ from their 1995 album Carnival Bizzare.
The heaviest track on side two is by far ‘Requiem for the Voiceless’, a slow and very heavy song with an animal activist message which showcases how strong the band are in a live setting, as well as their talent for incorporating modern issues into their songs without becoming preachy.
The only flaws on a near-faultless album are the audio samples, which populate a number of tracks. They seem like an afterthought, an idea which was not fully developed as it is unclear of what purpose they are trying to achieve.
Once again Cathedral delivered an outstanding album, an album which is diverse in sound and tone and which also highlights the bands talent of incorporating numerous styles into their music. A must have for any Cathedral or Doom Metal fan.
Posted In Classic Albums, Jun 21 2010.
Words - Saul Crowley