by Ed Rivadavia
Upon its release, Cathedral's Endtyme was heavily touted as a &back to basics& album for the British doom originators -- but this isn't exactly true. After taking its neo-hippie metal as far as it could, Lee Dorrian's combo certainly seems bent on revisiting the slothful, post-Sabbath dirge that characterized its earliest releases. But unlike its record company, the group doesn't seem nearly as convinced about taking such a large step backwards. Instead, while Endtyme certainly boasts an inordinate amount of plodding down-tuned anthems, even the slowest grinds contained here (&Requiem for the Sun,& &Ultra Earth&) manage to retain some of the energy and diversity displayed (even if in haphazard fashion) on the group's late-'90s albums. More disappointing is the fact that, once again, Cathedral falls well short of delivering a truly consistent album -- something the band only came close to achieving with mid-era releases like The Ethereal Mirror and The Carnival Bizarre. In fact, Endtyme only boasts two or three truly excellent tracks, including the gloomy &Melancholy Emperor& and the sullen &Alchemist of Sorrows.& Sabbath-isms abound throughout the album, and work both to its advantage (the &Orchid&-like guitar intro to &Sea Serpent,& for instance) and disadvantage (the unoriginal &Planet Caravan& takeoff &Astral Queen&). Downright weird experiments like the silly &Whores to Oblivion,& on the other hand, could hardly be classified as true doom metal. Yet, despite its air of forced excess (driven home by 13-minute monster closer &Templars Arise [The Return]&), most fans are bound to agree that Endtyme offers a more focused and satisfying experience than Cathedral's recent efforts -- but a doom classic it is not.