Artist: Cathedral
Label: Spitfire Records
Release Date: 11/5/02
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Title: The VIIth Coming Artist: Cathedral Label: Spitfire Records Release Date: 11/5/02 |
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Abyss's Review:
Cathedral's last album, Endtyme, was a return to their roots of sorts, invoking the sounds of Forest of Equilibrium and putting a modern spin on it. In essence, I feel it was the perfect way for Cathedral to approach the new millennium, looking back and forward at the same time. Many of Cathedral's more recent fans (meaning fans of Supernatural Birth Machine) were taken by surprise with that release, wondering why anyone would want to return to such an earthy and weighty sound, so in some circles it wasn't regarded as the masterpiece that is.
"The first thing that leaps out of your speakers and smacks you across the face is that this album isn't nearly as heavy as Endtyme. In fact it's downright accessible." Well these people will most likely be very happy with the direction that Cathedral have taken on VIIth Coming. The first thing that leaps out of your speakers and smacks you across the face is that this album isn't nearly as heavy as Endtyme. In fact it's downright accessible. I don't think I have ever heard Lee Dorian's vocals sound quite so warm. Actually, that's misleading, what I meant to say is that I've never heard any warmth in Dorian's vocals, so the warmth that is added here is remarkable. There is no doubt that Lee's vocals are an acquired taste, they are awkward and often atonal, but they are also distinctive, genuine and powerful, making him, in my opinion, a great frontman. But on the greater part of this album he sounds downright melodic, singing catchy and memorable choruses.
The music is much more rock and roll than I would have expected. It's not nearly as plodding as the average Cathedral record, which I initially didn't think I would like. The band has also let their sound become decidedly less 'metal', as this is just about as commercial as this band has ever gotten. The songwriting reminds me of midyears Sabbath in that it's a little more commercial than their heavy stuff, but no less interesting. In fact, the band's less rigid song structure allows them to experiment more and leads to an album full of diverse songs that really stand out from one another.
"These guys are just so damn good at what they do, they don't really have to worry about taking chances." If I had seen this album's concept laid out on paper, I don't think I would have expected to like it. In fact, I'm almost always against a band softening their sound, but this album is so compelling that I just can't help being excited about it. I guess it comes down to the fact that these guys are just so damn good at what they do, they don't really have to worry about taking chances. One word review: Awesome.
Death's Review:
If you'll allow me to bastardize Abyss' trademark line for a moment . . . "One sentence review: I think I like Endtyme better."
"Many of the newer bands calling themselves 'stoner rock' these days probably wish they sounded this good." At the end of the day, however, I'm somewhat torn as to this new album's overall worth. Endtyme may have been a bit heavier, and it definitely had a more "classic" feel to the songwriting. But some of these new songs have that kind of killer intangible element too, like the coolly-named "Iconoclast" ("Believe in yourself!"), the bouncy "Black Robed Avenger" or the 8:38 second journey "Empty Mirror." And I don't mean to imply that VIIth Coming isn't heavy; it is. Songs like "Skullflower" or "Congregation of Sorcerors" (this one surprisingly reminds me of Celtic Frost) are fucking slow; sludgy and brutally slow at that. The Sabbath vibe is probably even increased on this record, with Lee Dorian sounding like the "late-Ozzy-era-Sabbath" Ozzy throughout (think slightly whiny and atonal but somehow fitting and full of feeling-- was this guy really once in Napalm Death?). Think Ozzy circa Never Say Die or Technical Ecstasy. But when listening to stuff like the aforementioned "Skullflower," or some of the rest of the album's dummier parts, the proper comparison is more like Volume Four, especially for the latter half of the record.
Obviously, Cathedral is about a lot more than simply picking out the appropriate early Sabbath comparisons. They are a classic band in their own right, and this is definitely apparent on VIIth Coming. The doom vibe is everywhere, but so are touches of just general classic rock/hard rock trappings, evoking Deep Purple-style keys (e.g., just before the 6:00 mark in "Empty Mirror" or the subtle touches in the bridges of "Nocturnal Fist") and even elements of "hippyfied" jam bands on the excellent "Aphrodite's Winter." Many of the newer bands calling themselves "stoner rock" these days probably wish they sounded this good. The guitar sound is what gives everything the doom feel, but it is the rest of the band that otherwise veers toward hard rock. It mostly works.
Still, I'm not loving the production, and Dorian's voice doesn't have that extra something Ozzy had to fully draw me in. I like the bass playing, but the drums are (purposefully, I'm sure) fairly straightforward. The guitar solos are at their best when they remind me of Tony Iommi licks. But it is not the musicianship per se that is going to draw you in to a band like Cathedral, it is obviously the songwriting that has to carry the day. While these songs are generally pretty cool, they don't always kick my ass (aforementioned examples excepted), and I don't crave to hear them after the album is done. Part of the problem is that the vocals are often so awash in reverb and so "distant" feeling that I lose sight of the emotion (e.g., the lengthy and otherwise interesting "Empty Mirror"). Yes, the riffs feel like someone is beating me over the head with a dull instrument, but without the vocal connection, the tracks often lose me like many slow, extended doom "jams" tend to do.
"Yes, the riffs feel like someone is beating me over the head with a dull instrument, but without the vocal connection, the tracks often lose me like many slow, extended doom 'jams' tend to do." Certianly, if you have been following Cathedral all along, you will need to get this record and spend some time with it. There are some great riffs and some fun moments. This is down and dirty, old-school sounding rock and roll. Not exactly commercial, not exactly inaccessible either. Just ass-kicking, foundation-based rock. Yes, there are some relatively "experimental" elements here, thus furthering the later-era Sabbath analogy although there is of course nothing even close to as "different-sounding" as "Changes" or "Johnny Blade" on this record. In the end, VIIth Coming is more than just worthwhile for fans of the band and this style, it is a kick-ass record. It is worth your time if you are so inclined toward Cathedral, or stoner or doom rock in general.
Hel's Review:
I am not a Cathedral authority by any means. I loved Endtyme, but that is really the only Cathedral album I have listened to at length. Until now. On the heels of what I considered a fantastic slab of doom, one of the best I have every heard, in fact, I eagerly anticipated my first listen to The VIIth Coming when it came my way.
"This is certainly not a light piece of fluff, but it somehow seems to lack the crunchy, suffocatingly deep, heavy riffs that comprised the very essence of Endtyme." Unfortunately, I found it was unable to live up to the legacy left to us by its predecessor. The production is much better than the last time, and indeed, may be the most cleanly produced doom album I have ever heard. But fundamentally, it simply doesn't strike me down with its sheer weight like the last. This is certainly not a light piece of fluff, but it somehow seems to lack the crunchy, suffocatingly deep, heavy riffs that comprised the very essence of Endtyme, and caused my deep addiction to that record.
"I reserve my right to change my mind, as I am already finding this record growing on me by the moment." Comparisons aside, Cathedral is still an amazingly talented band, with formidable songwriting skills that complement their ability as musicians. While the lack of elements already described prevent me from fully embracing this album as one of the best of the year, it is still thoroughly enjoyable, and I am currently annoying my neighbors by playing it at extremely loud volumes. Furthermore, I reserve my right to change my mind, as I am already finding this record growing on me by the moment.
Every doom fan should definitely own this album. Everyone else should certainly beg and borrow this from someone they know, because it truly kicks serious ass.
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