RSS Feed


CEMETERY FOG
Towards The Gates EP

Iron Bonehead (2014)
Rating: 8/10

As the eerie piano trickles its way via the introduction to Cemetery Fog’s debut EP, I’m at once enthralled and excited by a release that harkens back to the days of yore when these types of bands and their albums leaked into the underground metal scene.

From its murky cover art to the embryonic guitar sound, Finland’s Cemetery Fog just reek of that underground stench; an air of damp, a waft of dank and, above all, a feel for the esoteric as they take the listener through the darkest depths of their imagination with tales of horror. It’s all enshrouded in a sort of doom-laden death metal hybrid that begins its horrid trudge by way of ‘Withered Dreams Of Death’ which, in atmospheric fashion, chugs with moody intent and is scarred by those gruff, beckoning vocal rumbles.

Certainly not hideously slow to the point of torture, this is all about imagery and conjuration of nightly visions, and Cemetery Fog are clearly going to be masters of their trade. Sublimely they incorporate gothic orchestral touches which add to the effect, but their most important trait is the fusing of those sinister vocal warnings and the deep, doomy guitar sound.

‘Embrace Of The Darkness’ breathes extra fire into proceedings, and comes complete with an infectious drum trudge and catchy riff. This is pure 80s metal delivered in tandem with wondrously evocative church organ. J. Filppu’s sermons of woe are convincing as the riff takes on a doomy plod, but so fluid is the whole structure of this EP that each track flows like a river of black into the ears.

‘Shadow Of Her Tomb’ is a true doom epic; it begins in straining, almost aching fashion as a quicksand riff builds – as expected, from what Black Sabbath constructed so many rainy years ago – but this too is old school, primal doom metal, more specifically nine minutes of cascading blackness caressed by a mournful vocal growl. The nicest touch, however, comes with the unexpected caress of a female vocal; a haunting tone that drifts above the tombstones like a ghostly barn owl taking flight. Again, the hint of a synth adds to the effect of this goth-plod and Filppu is taking on a sort of Lee Dorrian (ex-Cathedral) style of ashen drool.

The outro (‘Towards The Gates’) sees us safely home as a brief acoustic passage, but one can’t help that even with the gargoyles still leering through the window, we just have to dive back into this plateau of phantasmagoria because it’s so bloody inviting. Good stuff, guys. Looking forward to the full-length.

Neil Arnold

<< Back to Album & EP Reviews



Related Posts via Categories
Share