The Ethereal Mirror
The Ethereal Mirror gives Cathedral much more movement. The enormously heavy guitars remain, but the band now put the riffs to work as grooves. The music can consequently be dark and strikingly catchy at the same time. The change produces an album that retains its weight while regularly sounding ready to let loose.
Ride makes the difference clear. Its riff gives the song immediate drive, and the melody is easy to remember. Midnight Mountain takes that physical side of the sound further. Its swinging approach comes close to hard rock, while the guitars keep everything firmly inside metal. Cathedral sound looser without becoming lightweight.
Speed is not the only concern. Enter The Worms returns to a slow, threatening approach. Fountain Of Innocence takes more space and lets the guitar lines carry the song further. These longer pieces give the album depth alongside its more immediate tracks. Their presence keeps the livelier movement from removing the darker atmosphere completely.
Lee Dorrian remains a distinctive centre. He tries to sing more than on the debut, but his voice keeps its rough, strange character. The exaggerated cries may take some adjustment. They also give the music an identity, particularly against Garry Jennings and Adam Lehan's heavy riffs and melodic solos.
The second half does not maintain the same immediate tension everywhere. Some songs have fewer individual features than the early highlights. The guitar work nevertheless remains engaging enough to hold the album together. The Ethereal Mirror demonstrates that doom can lean on a firm groove. Lumbering weight, psychedelic colour and an almost celebratory drive make it an unusually enjoyable record with plenty of darkness beneath the surface.
