By Loki’s dead acolytes, there’s a ton of bands called Funeral, somewhat alive or truly dead, in this world of metal. Who would have thought that, right? After all, you can sport a reasonably gruesome name without having to call your act Putrescent Guts Devourer or such. So, for the record, Gospel of Bones here is brought to you by Funeral from Norway. An outfit active since 1991 that came back from six feet under in 2021. And they are – supposedly – true specialists of funeralistic doom ‘n’ gloom in all its ominously glowing glory.
The RMR crew just returned from some adrenaline-drenched metal fury on steroids and started on Gospel of Bones. Talk about deceleration. From 450 mph of full screamy metallic fits to a solemn funeral march that – strangely – always gave me flashes of Moonspell’s insanely good video of Scorpion Flower (Night Eternal, 2008) with its death march of the doomed. Not directly connected to this here record and style of course, but it exudes similar gothically-tainted vapors pregnant with dark promises of downfall and decay.
2022 marked the year when former vocalist Sindre Nedland passed the baton to Eirik P. Krokfjord. A trained opera and Wagner specialist, so we are told, this change also brought about a different style direction. Praesentialis in Aeternum was a rough-hewn and generally okay record. One that some reviewers tore themselves into pretzels to extract the last drop of (supposed) positive goodness, when it was a record in search of itself with a strangely unfinished feel to it.
Gospel of Bones – in contrast – throws the listener into the Cathedral ov Impending Doom directly. Krokfjord‘s operatic vocals recite the sermon of terror all the while you feel like lying in your coffin fully awake and en route to your new earthy abode. And nobody listens to your screams that – behold – you’re still alive and about to be buried. Maybe you’d like to listen to some of Ailo’s Lullaby to help soothe the panic? You know, the song written by one Kjetil Selvic. In other words, true gravitas and added spice suddenly infuse this ocean of tears. A sense of hopelessness, woe, and – yes – impending doom permeates the piece from top to bottom. Out the door are the cringy attempts to inject Doom Death at odd moments. And in comes an avalanche of gloomy geekery that would suit My Dying Bride and Candlemass in one sitting.
Gospel of Bones truly is one of those fire-and-water records, a fusion between folk and metal’s harsher urges. To get there, Funeral made good use of archaic instruments such as the Harding fiddle to the point that you find a strangely fitting ebb and flow between unplugged parts and sturdy chugs (My Own Grave, for instance). The recently added Ingvild Johannesen joins guest musician Øyvind Rauset (Folque) in providing a riot of weeping old-style violin contributions so important to atmosphere and mood. But Anders Eek‘s haunting drum power truly cements this feeling of tribulation and somber and secretive ecclesial rules. And, it’s a pleasure to see that Rune Gandrud‘s bass rose to a more prominent position with its mighty roar (To Break all Hearts of Men, These Rusty Nails).
Some will undoubtedly complain about the insane length of Gospel of Bones. And there’s some truth to that. Yet, for Funeral Doom with a penchant for gothic tableaux full of coffins, death, and misery, some large leeway will be in order. The same goes with the somewhat anemic guitar contribution rich on craggy riffs and sparse on solos. And again, the coarse and sandpaper-like texture of the electric guitars provides a great counterweight to the heartbreak and desolation the ever-encroaching strings, sudden bursts of acoustic guitars, and archaic instruments spew forth.
Finally, Gospel of Bones did come with a few surprises. For example, the funeral Doom brought about by an opera-trained vocalist with no growls far and wide, seconded by a female soprano at certain points of the journey. Or, a better focus on violins providing a poignant sense of forlorn tribulation. Strings that aren’t programmed anymore but recorded straight thanks to Ingvild Johannesen. And for once, the large number of guest contributors didn’t gripe with the rest of the album. Interestingly, the two tracks nearest to the former album fared the worst on our internal ranking list. Whereas, masterful doom songs such as the aforementioned My Own Grave or – again – Når Kisten Senkes soared to the highest levels over here.
In short, the solemn gravity of Funeral‘s ‘new’ gospel brought about a great rendition of Funeral Doom. In line with this sense of loss and decay so prevalent in this autumnal season. A sad ‘n’ delightful piece of coffin-infested commiseration to be consumed without moderation. The graveyard salutes you. Just make sure you get out of that casket alive before they send it into the ground.
Just sayin’.
Ed’s note: Hell’s Bells, Funeral already released more material, they’re on a roll. Good or bad? You be the judge.
Record Rating: 7/10 | Label: Season of Mist | Web: Official Band Site
Release Date: 18 October 2022