GoSMore often than not when a band cites influences like Paradise Lost and Tiamat these days it means you are in for a reasonably predictable take on the gothic doom genre with the influences coming from the bands most popular and accessible periods. Not so with these Spaniards, who have instead taken their influences from earlier times and embrace the darker side of the doom. It’s a wise approach to take given that the lighter more modern take on the genre is awash with bands almost to the point of saturation, but fans of the more raw style are also some of the most demanding when it comes to their music, so does ‘Shadows Of Life’ measure up, or does it fall short?

I’m not a fan of intro tracks in general and see them as a waste of a track, and ‘Genesis’ is a prime example of that. Less than a minute long, and without any real purpose, it just sits there completely unrelated to the first proper song and is just a false promise to the listener, so be under no illusions, this is an 8 track album, not 9. Once things actually get underway, the influence from ‘Clouds’ era Tiamat is obvious, although perhaps the closest comparison to be drawn is with Crematory. The title track is most definitely a grower and as I listen now I realise just how much more I appreciate it than I did initially. The production is a little dog eared, although musically and vocally it hits the spot, as the singer’s death growl is delivered at just the right level for the style and pace of the music. The guitar tone has a melodic quality to it as they try to emulate the style of mid era Paradise Lost, but whilst the composition is very good, the performance itself is a little bit wobbly, leading to occasional wince inducing moments. Add to that a drummer who struggles to keep time on occasion, and the early Paradise Lost comparison is a dead fit.

The pacing and timing of the music may be a little less than perfect, but this doesn’t stop the songs being catchy and memorable. The riff to ‘Dreaming of Some Day to Awake’ sticks in the head long after listening, as does the cover of Tears for Fears ‘Mad World’, which is a stroke of inspired genius to perform in the manner they have. The guitars on ‘Follow Me’ are so very simplistic yet incredibly infectious, and it really does evoke the feeling of early 90’s melodic doom bands, and they manage to hook you in with the riffs for track after track with ‘Solitude’s My Paradise’ perhaps being the pick of the bunch. The final track, ‘There Will Come Soft Rains’ is a slight departure from the rest of the album, with its slower pace and highly melodic nature it has much in common with some of the best of the Russian and Eastern European doom bands out there, with The Morningside coming to mind in particular. It is a fine way to end the album.

Graveyard of Souls may not be the most refined band out there, but they certainly know how to hold the interest, and in you could argue that it’s the imperfections that give it character and even adds to that early 90’s feel before the scene really took off. This really does have the air of one of those self-funded labours of love, with the band having poured everything into it. No, it doesn’t sound perfect, but it is enjoyable and it has kept me coming back for repeated listens. If you are a fan of Crematory or early Tiamat, then I would absolutely suggest giving this a try. If nothing else, that Tears for Fears cover will put a smile on your face.

(7.5/10 Lee Kimber)

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