It is a nice, cool Thursday evening in London. This is ULU, the University of London Union, a place which is no strange to metal gigs and specially not a stranger to Lee Dorrian, lead singer and founder of Cathedral. He has played in this place previously and now is doing the London concert for the promotion of Cathedral's first album in half a decade (let's say that instead of "in five years", so it sounds longer), The Guessing Game, released in late March.
Again with beautiful artwork by Dave Patchett, the intricate, Boschnian artist that has made most artwork for Cathedral's covers. Clocking at 78 minutes, The Guessing Game is a true gigantic album, and it becomes clear that guitarist Gary Jennings, bassist Leo Smee, drummer Brian Dixon and singer Dorrian have decided to take their time to release something well thought, well rehearsed and composed. Naturally, this does not mean you have to like it, not even as an old-school fan, or a doom metal fan, but this is one of these pieces of art that you look at and you know there is a lot of work put on. It shows.

It becomes increasingly hard to make a strong impression in popular music nowadays. It seems rock has reached its limits, and all we have are repetitions of 80s scenes. Can guitars, vocals, bass and drums only go so far, after some 60 years of explorations on the format? Heavy music and its two main scenes, punk and metal, recycle ideas from the 80s over and over again; crust punk, thrash metal, death metal, hardcore, melodic hardcore etc, all these sub-genres formed in that decade. In the following years, the divisions matured and were developed, but it seems that heavy music is having a hard time finding new ways to explore and be creative, and more than that, meaningful, within the format. With this challenge at hand, Cathedral has succeeded in creating a very special new album, changing the sound of the band, adding new ways of structuring their songs, new elements to their sound and therefore risking more.

Finally after some 18 years of listening to this band I am being able to witness it. The ULU, a place that has seen many historical gigs, is packed with lovers of metal. After the hiatus in which the band took its time to breath and refresh ideas, the new release is in many ways (and even literally, in the final track) a summary of Cathedral's career. A double album with many twists and turns, it is both a progression for the band – in the sense it expands and develops what they have done in the past, and probably being their most "experimental" album – as well as it is an evaluation of what they have done, a meditation on what they have achieved.

This night takes me back in my musical history. I have been listening to this band for nearly two decades, and started by getting their music in my native country, Brazil. When I think of Cathedral's music, I think of my teenage life there. It is interesting to explain what it was like to be in an underground scene in Brazil twenty years ago. In the late 80s and early 90s, if you were into underground music and had any information, you were looked up by everyone else. At least by the newer generation of punks who were into hardcore. If you bumped into someone with a Sore Throat t-shirt in São Paulo, Brazil, in ‘89 – ‘92, that meant something. This guy knew about extreme music. He possibly was in touch with punks in Europe, he was trading tapes and letters with European Punks, that was very possible. Where did he get the shirt in the first place? I remember being inside the car once, in ‘91, ‘92, and seeing someone with an Unhindered by Talent Sore Throat shirt at the bus stop. I just felt like getting out of the car to talk to him.

If you saw someone with an Extreme Noise Terror shirt, you would cross the street to talk to him. It meant he might speak some English. Maybe he had a fanzine or something, and knew a lot about extreme music and punk and hardcore. It meant you really had the same interests. Perhaps he read some underground comics as well. It usually meant he did. People into comics, horror and sci-fi were always a plus for me.

My friend Ulisses bought one of the first copies of Napalm Death's Scum to get into the country. Apparently, out of his copy the owner of a shop called Rainbow Records, which exists to this day, made a bootleg of the album. I have a copy of the bootleg, and Ulisses also gave me the original he had, autographed by Mick and the others when Napalm Death first went there in ‘90.

A healthy aspect of the early Brazilian Punk, and I suppose that of its incipient metal scene as well, was that if on one hand information about the cradle of these movements was scarce (USA and Europe), the creativity to make our own versions of it was flourishing. People would invent costumes and clothes, albeit ridiculous, and ideas and music crossed references which probably "shouldn't" have been crossed, according to the matrix. They just "didn't know" it wasn't supposed to be made that way. I also suppose this happened everywhere, before the Internet. The Internet has set standards and made everything very homogeneous. You only have differences when you have (at least some sort of) isolation. Total communication brings patronization. When different cultures meet, they will eventually merge. It may be a long process, but it will happen.

Earache Records, Cathedral's original label, started a revolution within extreme music in the late 80s. The label had a wider scope at the time. Digby Pearson, its founder, was I suppose, very excited about what the bands were making. There was no internet to check every new band's demo tracks, so getting new music was always such a special and precious, unique thing. You had to actually get home to take the LP/CD off the case to listen to it. I remember when Nocturnus released Thresholds, ‘92 or so. I was so, so excited, coming back home in the bus with the CD, looking forward to like this band, because it was after all an Earache band and it had to be good. And it was. Some strange, weird, "technological themed" death metal, with unusual keyboards and lyrics that seemed like stories taken from Metal Hurlant magazine.

Also, those bands were really trying to create something, each band had its own unique sound. Heresy, Bolt Thrower, Scorn, Napalm Death, Cathedral, Godflesh, Nocturnus. No two bands were exactly alike, they were like people in a family, and what linked them was the fact that they were the most extreme, intense, powerful and violent music ever done in a popular format, ever, in history. From ultra slow to hyper fast, amongst other characteristics.
Labels had more of an identity. It doesn't seem like we have that, for metal and punk, anymore and neither I think we will. Even for Jazz records, which had such a tradition with that. ECM, Impulse, Blue Note and so on. I think the ten years of Earache at its peak are comparable to any great cultural movement, something like German Expressionism, that went from roughly ‘13 to ‘26. I will never forget getting the new Earache records all the time, and being absolutely surprised by them, learning about music with them. The label released work that started so many sub-genres, it is impressive.

In that sense, it is kind of amazing how far Cathedral has gone. Starting in the early 90s and coming from the mentioned scene of musicians in extreme metal, Cathedral helped create the metal sub-genre of stoner metal. It was a strong turning point for the lead singer, Lee Dorrian, and his career. In a sense, at least as far as the music goes, it completely contradicted his work with ultra-fast pioneers Napalm Death, while it did not deny it, for he was still exploring heaviness, but this time, not speed.

The band's first album Forest of Equilibrium came as a surprise in the extreme metal scene. Inspired by bands such as St. Vitus, Trouble and the Obsessed, the band decided to take the concept of slow, heavy and doom music as extreme as possible, creating what is possibly the darkest, heaviest and most monolithically slow and dense music ever recorded in a rock format. The album was, however, so extreme and brutal in its focus that it was a real challenge for the band to think where they could go next. It remains very much a one-of-a-kind album, and that format probably can't really be successfully repeated. The answer was The Ethereal Mirror, the record in which they embraced the 70s rock vibe and attitude, and which in effect really set one of the founding steps of the successful stoner movement, a rock genre dedicated to explore the 70s heavy rock vibe established by Led Zeppelin, Black Sabbath and so many other heavy bands of that decade.

Dorrian completely dove into, and embraced, the stoner movement, as a lifestyle. He dedicates himself to the "stoner cause" with deep passion. As a true devout, he owns and operates the label Rise Above Records which exclusively and solely releases albums by bands that follow the 70s heavy rock genres. Maybe there was an element of disillusionment with his work with Napalm Death and the extreme hardcore scene from which Napalm Death emerged, something which led him to completely dedicate himself to this new scene. Whatever the case, he kept his ethical and political views, sculpting Cathedral's lyrics and images into metaphorical concepts that relate to his beliefs, but this time in a more subtle way. In the beginning it seemed he wanted to create dream-like environments, entering the world of writing about fantasy, again, going away from his work with Napalm Death. Forest has got evocative, dark, gothic lyrics in songs such as ‘Ebony Tears’ and ‘A Funeral Request’. The lyrics come across as very visual fantasy-oriented and atmospherically inspired tales of surreal imagination. Only later, it seems, he became interested in writing about the same subjects he explored with Napalm, but using a different approach. In Cathedral his ideas are to use symbolism and more poetic, less direct elements to communicate, therefore fitting into the more fantasy-oriented elements of the stoner scene, while still retaining his original concepts. He uses metaphors. It is a very creative approach that separate's Cathedral from most stoner bands. As Jim Whitley, former Napalm Death bassist, told me in a hardcore gig earlier this year, he has deep respect for Lee and Cathedral: "Lee is doing the same he was doing with Napalm, it is a development, maybe he only doesn't have the punk rock constrictions I have regarding genres and music". An interesting and humble thing to say about a fellow musician, and former collaborator.

It is impressive that the stoner movement took so long to take over, from its creation in the 70s to a complete revival in the late 80s and early 90s. A myriad of relatively unknown 70s bands have been brought up in the last fifteen years or so, having releases unearthed by bootleg (and official) labels such as Akarma, Radioactive and Repertoire Records. It is as if researchers of 80s metal suddenly unearthed dozens of really good, creative and interesting unknown thrash metal bands.

In the early 2000s, already bored with the status of the metal and punk scenes, and uninterested in the emergence of awful emo-metal bands, I became obsessed with these bands. I found out about acts that were influenced by, but went far beyond, the famous 3 of 70s metal: Zeppelin, Purple and Sabbath. Names such as Too Much, High Tide, Nightsun, Ultra, Necromandus, Poobah, Truth and Janey, Flower Travelling Band, Pax, Dark, JTP Scare Band and many others became part of my vocabulary.

The Guessing Game brings Dorrian's writing at its most relaxed and direct. Lyrics deal with straightforward subjects, in a more direct way than was done before, and the music seems more developed, broadening the band's scope and bringing new identities to their music. It seems I am trying to compliment them with clichés, but it is true. Composing this album definitely was a lot of work. His lyrics are his most punk and in-your-face critical ever done in Cathedral. The album's songs compose a panel of him observing mankind and dealing with life in a very day-to-day, down-to-earth way.

The album opens with ‘Immaculate Misconception’, a progressive intro with loud, Hammer film-like keyboards that, for some reason, reminds me of scenes from the film Dr. Phibes, and it is finished by the sound of a baby crying. Then, typical Cathedral takes over with ‘Funeral of Dreams’, a track which opens with heavy rocking riffs. Suddenly the loud guitars cease and a melodic sung chorus comes in, with Dorrian singing in a kind of staccato fashion, being followed by what sounds like a xylophone and the compassed bass of Leo Smee. This track brings Cathedral much closer to the more open, creative vibe of the 70s rock bands they follow, a genre which has been called recently of "heavy psych", combining heavy rock, progressive overtones, psychedelic elements, maybe even eastern/oriental references and some folk experimentation. The band Nebula attempts to follow this genre, and with Cathedral's help it seems they are trying to gradually take the whole stoner rock genre away from its single overall reference, which is Black Sabbath. Cathedral is open to some changes, and has even flirted with punk hardcore once, in the excellent and excellently titled track ‘Earth in the Grip of a Skeleton Hand’, released in the hard-to-find Gargoylian EP. It would be great to see them doing more of that.

The following track is the epic and inspired ‘Painting in the Dark’, heavy and travel/road-friendly rock at mid-pace, with a catchy chorus. The track is followed by ‘Death of an Anarchist’ which opens with a nice little acoustic piece and follows into a mid paced metal meltdown, with some added keyboards that finally turn into Cathedral medieval heaviness in the second part, it closes with a crescendo of heaviness, reminding me of their work with Ethereal Mirror. Track five is ‘The Guessing Game’, keyboard-based and it has echoes of Jethro Tull and English progressive rock in general. A beautiful keyboard track, enhanced by some melodic flutes and acoustic guitars. The band could benefit from making more tracks like this. It reminds me of the first ever Cathedral track, track one from their first album; ‘Picture of Beauty and Innocence’ a remarkably inspired and lyrical acoustic guitar piece. The Guessing Game kept playing on he background all the time at ULU before Cathedral entered the stage, setting the mood for the gig.

The psychedelic ‘Edwige's Eyes’ follows. Initially, a more traditional doom metal track, it actually features one of the most beautiful choruses in a Cathedral song, with a slow growing, delay-taken guitar piece, covered by deep keyboards, the song follows with a carefully constructed middle part. Finally, disc one concludes with the beautiful ‘Cats, Candles Incense and Wine’, a true operatic piece, filled with twists and turns and employing parts that go from jazzy bass playing and guitar from Smee and Jennigs, to melodic and acoustic guitars. In this piece Cathedral reaches the best it has done in terms of experimenting and broadening the band's horizons, while still keeping their unique identified riffs and overall sound. An excellent chorus continues the sound developed in the middle parts, and the track ends with Dorrian casually whistling! This is Cathedral at its best, apparently less pretentious, but in effect it's one of their best and most varied, creative achievements.

Disc two opens with ‘One Dimensional People’, a track that features somewhat ‘When the Levee Breaks’ drums, echoing, and then the recording changes and explodes into heavy riffs, doom metal all the way. Following comes ‘Ghost Ship of the Blind Dead’. Another 70s horror/Italian movie reference, the track has got a groovy sound, discreet use of keyboards and wah pedals by Jennings's guitar and a distinct psychedelic effect on the chorus. His guitar sound has always been a signature of Cathedral, I could tell it's him playing anytime I hear it. It would be interesting to hear him playing in other bands. And to imagine he began playing with thrash act Acid Reign, which made a very different sound from Cathedral's stoner metal.

Lyrically, 'Ghost Ships of the Blind Dead’ and ‘Edwige's Eyes’ probably simply express Dorrian’s appreciation of Italian horror and giallo movies. The lyrics are celebrations of the famous horror film of the same name and of the actress Edwige Fenech, respetively. Horror is a genre I deeply appreciate, and I understand Dorrian's homage here, it does fit nicely with Cathedral's atmosphere and general imagery.

Track 4 on disc two is the slow and somewhat eerie ‘Running Man’. It has a very nice dark chorus that evolves into a syncopated piano, or so it sounds like a piano piece. The extensive use of other instruments, rather than the typical guitar-vocals-bass-drums combination has really allowed Cathedral's sound to evolve in this release. The track ends in a jam session of eerie darkness, with instruments entering their own universes as the band plays in a looser and looser fashion, and the song disintegrates, slowly, in a tunnel of doom metal.

Nearing the end of the album is the heart-crushing ‘Requiem for the Voiceless’, a statement on the way men treats animals. Dorrian puts himself in the position of a caged animal being used and abused by humans. Accordingly, the music itself is crushing. Oppressive and relentless doom metal that creates a very dark mood. "Set me free humanity I have no voice won't you please set me free?" screams the desperate chorus, and it is truly heartbreaking. The track ends as it began, leaving no hope.

I became a vegetarian mainly after reading his lyrics for a Napalm Death track, ‘Display to Me’. It simply caught my attention to what I consider the final hypocrisy of the west; the meat industry and the way we treat animals. Surely, ‘Requiem’ features a deep, dark atmosphere of horror that fits the lyrics perfectly. A lifelong vegetarian, Dorrian's dedication to the lyrics and the cause transmit great sincerity, and I believe he has achieved very good results in terms of content and form with this song. The whole record is very well-thought in that regard. Words, images and music are in accordance. Cathedral is a particularly well developed band in this aspect. I can't imagine them without Patchett's art.

Following that, there is the closing track, the more upbeat ‘Journey into Jade’, a casual rocking track in which Dorrian recollects and ponders about each release the band has made in its 20 year old career. It's a very casual and humorous look at their work, with the lyrics contemplating the meaning of their music, and asking if their vinyl will be rare and collectible hundreds of years for now! Basically Dorrian attempts to casually put into perspective what he has done with his life and sends a letter to a person in the distant future that may find his work.

Back to the crowded room of the ULU. The band starts playing and I'm impressed to see how direct and tight the line up is. These guys HAVE been playing for 20 years, for sure! Right in front of me, Gazz Jennings rocks away a brutal and loud guitar sound with complete confidence and total control over his instrument. I am not a particularly knowledgeable guitar guy, but his set and gear seem quite basic; some boss pedals, the Marshall amps and apparently that's it. The song is immediately followed by the somewhat experimental ‘Funeral of Dreams’, in an excellent performance by Dorrian, who recites the interesting and long lyrics synchronized with the instrumental beats, in the unusual manner I described before. The song is followed by the classic ‘Ride’, which makes the crowd explode into action. This track is an absolute classic from early 90s Cathedral, and judging by the enthusiastic welcome it gets, it seems most of the audience is there to see those songs. The excellent ‘North Berwick Witch Trials’ is next, with its sad main riff taking over ULU like the lament of an organ in a church. Another highlight is ‘Serpent's Eve’, the only track from the band's first album, Forest of Equilibrium to be played this night. The song begins and the crowd at ULU actually comes to a standstill, a halt. The music is so slow and heavy that they can't really enjoy it, or at least demonstrate their enjoyment through action. The heaviness is too deep and doomy for anyone to do anything, except be submitted to its overwhelming power, and imagine themselves being engulfed by a cold English mist in a decaying cemetery in December. I'm very fond of moments like these, when bands shock their audience's expectations and subvert what was expected. Cathedral again proves they are not safe stoner metal, and there are plenty of weird tricks under their magus's sleeves!

For the encore, the band bursts into ‘Hopkins: Witchfinder General’, one of their most famous tracks, made popular by a classic video which features scenes from the American International Pictures film ‘Witchfinder General’, which stars Vincent Price in the title role. This is Cathedral at its most classic, and the audience approves.

Dorrian finishes the night by "hanging" himself with the microphone cable, while a shower of stage lights dance below and around him, a macabre spectacle. Lights illuminate his hair, as it runs down his face, his transparent blue eyes open, emptily staring at us. A grandiose scene of horror, bathed by blood-red lights coming from below him, that fits in perfectly with the Amicus/Hammer horror vibe and feeling of Cathedral's songs, and of the night.
My conclusions are that I saw the band in a very special moment of their career, and it was worth waiting 18 years to finally see them live. These moments, witnessing the live the work of artists who have been so fundamental in the shaping of my preferences, references and personality, have a sweet taste of nostalgic achievement that few things can give me nowadays. Truly, finally a circle has reached closure in my appreciation of the band, and Cathedral's music will be a part of me, always.


Joaquim Ghirotti
photos: Joaquim Ghirotti