Written: 16th October 2024
Having existed for over thirty years, Funeral have navigated their way through numerous line-up changes and the sad loss of key members Einar André Fredriksen (bass) and Christian Loos (guitar) in 2003 and 2006, respectively, to suicide and overdose. Drummer Anders Eek stands as the last remaining founding member and reflectively he states, “The death and loss we had to go through over the years were extremely painful yet inspiring, as a musician and as a human being.” Following the 30th Anniversary Concert in Oslo in April 2022, “Life got in the way” as Anders puts it. “Some of us had kids, others moved out. Even I had quite a lot of things going on in my personal life and, at least for a while, maybe less drive to keep on carrying on the weight of the band on my shoulders. I never stopped writing music though because it’s something I’ve always done anyway.”
Gospel of Bones is Funeral’s eight full length album and it sees the first recordings with Eirik Krokfjord, vocalist since 2022. The classically trained baritone opera singer makes his presence felt immediately on opening track Too Young To Die. Here, and across the album, he adopts a melancholic, lamenting approach. Following the tolling of church bells, Too Young To Die begins its stoic, doom laden march. Unfolding steadily across eight and a half minutes, the track creates a feeling of isolation and the atmosphere of the high-alpine tundra of Norway. With the contributions of a soprano vocalist during different points in the song (and indeed the album), Funeral expand their sound still further.
While the feeling of deep introspection is woven throughout the fabric of the album, there is some variety in how the band portray their chronicles of grief. Yestertear has the feel of an aged soul confronting the inexorability of death, urging listeners to ponder their own existence, the spectre of regret looming. Procession of Misery is imbued with a more sonorous grandeur, its voluminous soundscape advancing with a relentless, sepulchral cadence. Here the band wonderfully combine the orchestral and metallic elements of their sound, complete with some of the heavier riffs on the album. Violinist Ingvild Johannessen is now also a full time member, and as such, the band have moved away from programmed orchestrations and alongside violin, have also incorporated the Harding fiddle, a traditional Norwegian instrument. On Procession of Misery, the strings create an unsettling, gothic atmosphere that constantly looms like a hellish wraith.
One of the most interesting tracks on Gospel of Bones is These Rusty Nails which combines a wider diversity of approaches. This includes a rapid, rock influenced guitar solo at the end of the track and the welcome sound of Rune Gandrud’s bass, alive with a sprawling sense of unease. Instrumental Ailo’s Lullaby splits the album in two and offers a fleeting interlude from the overwhelming despondency. This brief, contemplative piece provides a moment of respite, inviting listeners to pause and reflect on unresolved tribulations. Its minimalist and introspective nature serves as a poignant intermission amidst the album's weightier compositions. The interplay between the strings is mournful but utterly beautiful.
My Own Grave, possibly the best track on the album, ranges from the delicate touches of acoustic guitars to genuinely heavy riffs and sorrowful strings to moments of dark but fully formed melodic flourishes. To Break All Hearts of Men commences with an oppressive overture from immensely solemn riffs; furthermore, the vocals exude a profound depth of sentiment. Deeper strings from Johannessen’s cello add to the lugubrious, pained behemothic march of Stian Kråbøl’s and Morten Søbyskogen’s guitars. Når Kisten Senkes (which translate as When The Coffin Lowers) and Three Dead Men end the album - the former, another introspective of a life at its end and the latter, a song which plays with the vocal styles, displaying some hints of melody, spoken word sections and a poignant interaction between violin and drums. In addition to Krokfjord’s vocals across the bulk of the album, this means that Gospel of Bones weaves between metal, classical and, in certain instances, dark folk.
Throughout Gospel of Bones, Funeral masterfully intertwine the sorrow of a wake with the atmosphere of frozen winter nights - without becoming overly oppressive. Their music functions as a vessel of mourning and remembrance, guiding listeners through a desolate landscape of grief and despair. The album's production is immaculate, with each instrumental (the organically recorded strings adding huge gravitas) and vocal nuance meticulously sculpted to augment the overarching atmosphere. Gospel of Bones, their best album since As The Light Does The Shadow, stands as a testament to Funeral's virtuosity within the funeral doom metal genre and Eek’s determination for the band to continue.
At almost seventy minutes, the album is in no way immediate. There is a lot to become familiar with on Gospel Of Bones, and it needs to be listened to as whole, without distraction, in order to fully absorb and adjust to its ominous, yet captivating enchantments. Nevertheless, when it does work its way under your skin, the album's melancholic harmonies, unyielding dirges, moments of variety and philosophical lyrical themes coalesce to create an immersive and cathartic experience.
Gospel of Bones is released on 18th October 2024.
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