The 10 songs here are generally pretty accessible, so those who shy away from all things metal, yet enjoy some melodic gloom, should not be put off by the histories of those involved. Cemetery Skyline are clearly a band that have come together to create a very specific type of music - one which I imagine is close to the hearts of those involved. The songs are quite derivative of their influences, then, but the songwriting is strong throughout - with Torn Away getting things off to a fine start. Kallio's keyboards are generally the driving force throughout the album and his sparkling opening synth hook here is very characteristic of what is to follow throughout - and the melodies are easy on the ear from the off. Vanhala's guitars are generally more rhythmic, and there are not too many big riffs here, but he adds a metallic depth to each song - whilst the driving bass of Brandt also tends to do a lot of heavy lifting. The verses here are very bass-heavy, with subtle guitar patterns and swirling synths backing Stanne's gothic croon - whilst the chorus returns to the opening melodies for something much more expressive and hooky. Many of the choruses has are packed with pop hooks - so that classic gothic rock mixture of light and darkness is present throughout. There is a darkness thanks to the crunchy guitar and bass tones used, whilst the keyboards provide both a dense atmosphere and some sparkling melodies. Torn Away is a bit like a microcosm of the whole album, then, although a closing guitar solo adds some additional weight later on as an extended final chorus rolls on. In Darkness is a bit crunchier from the off, with Vanhala's chugging guitar groove setting a mechanical tone - which the rhythm section lock in with as Kallio's atmospheric keyboards swirl and envelop everything. There are fewer synth hooks this time, with the keyboards generally all-encompassing - although the verses feature some sparse piano chimes which are fitting as the light against the driving guitar grooves. Whilst there are fewer riff-led moments on this album than Vanhala is used to, his rhythms and grooves are a big part of the band's infectious gothic sound. His occasional soloing adds colour, though, but generally this is a band which are big on atmosphere over lead playing - with Stanne essentially responsible for most of the big hooks. As is typical of many of the songs here, the chorus is massive - and Stanne's rich cleans feel like they come from someone who has been singing this way their whole career. I think this album really highlights what a talented vocalist he is - and he showcases quite a range despite the songs generally requiring a moody delivery. Violent Storm is a real favourite of mine and it was the song which jumped out the most on my first listen to the album. The mix of distant guitar arpeggios and flashy synth hooks reminds me of the more cinematic side of The 69 Eyes somewhat - whilst the verses include a good mix of up-tempo guitar crunch and synth-based atmosphere. Light and shade is a big theme here, as is often the case in gothic music, and the way that the guitars and keyboards intertwine here showcase that - whilst Stanne's deeper verse delivery and more anthemic chorus vocals do the same. The song really builds towards its chorus in a compelling way, too, so when the vocal hooks kick in the melodies really hit home from the off. It is likely the album's most memorable chorus in my opinion - and it caps off an excellent opening trilogy to kick-start the album.
Behind the Lie opens in a similar manner to how the album did, with a crunchy guitar rhythm and a flashy synth hook - but the guitar backing feels a bit riffier than is typical. This is certainly a song that has a bit more of a metallic edge at times, particularly during this opening flurry, but generally the overall sound is pretty typical of everything else here. There are strong The 69 Eyes vibes during parts of this song, too, but there are also some real old-school gothic moments such as parts of the verses which see quite a sparse arrangement take over. Many of the songs here are very bass-driven, but the bass during parts of the verses is less prominent than it often is - with clean guitar melodies and keyboards instead leading the way. The heaviness from the opening returns during the chorus, too, although it remains hooky, plus there is a pretty slab-like bridge section which features some doom-adjacent riffing for a brief period. When Silence Speaks opens in a much calmer manner, with Kallio's rolling piano melodies fading from the distance - which Ranta soon adds some percussive drumming to. It does seem at one point as if the band might crash in and take the song in a heavier direction - but when Ranta's drums kick in properly he just adds a mournful groove behind the piano and bass, and allows for a ballad feel as Stanne starts to sing. The verses are full of gothic melodrama, then, and Stanne's emotional vocal delivery sits nicely against Kallio's piano and the sombre groove. The guitars do not really come in properly until the chorus, either, which means that it remains pretty slow throughout. Vanhala's crunch does add some heaviness to the chorus, but even the chorus retains the song's core mournful feel - with some slow-burning guitar leads also being included alongside fatter rhythms. The Darkest Night returns to the album's core mid-paced and groovy sound following the slower ballad which came before - with the crunchy guitars very much back in a big way. Whilst there are synth melodies as usual this is another song which feels a bit more guitar-driven than some of the others. The riffing is not all that remarkable, but the guitar tone used by Vanhala is enough to convey the heaviness - whilst the rhythm section feel much busier throughout the verses. Ranta's drumming is more percussive, so sections which feature little guitar input still feel weightier, whilst the synth melodies are generally lower in the mix this time - although they are still there to worm their way in. The chorus is one that hits over time, too. It is not as anthemic as some of the others, but the melodies reveal themselves over multiple listens - and it has become a bit of a favourite over time. Never Look Back is another song which opens slowly, with warm synth melodies and Stanne's voice fading in to create an atmospheric feeling - but this song is no ballad, and instead it is a pretty poppy rocker. There remain plenty of gothic vibes here, but it is maybe the lightest of the rockers here - with something of an AOR feel during parts of the song despite the gloom remaining. The guitar arrangement is very much out of the 1980s melodic rock scene, with a few strident accent chords and drum crashes, whilst the chorus is much brighter than is typical with floatier synths and vocals. A slow-burning guitar lead which acts as part of the chorus is also taken right from the pages of the AOR playbook - whilst an instrumental mid-section is surprisingly bombastic and comes off like a more restrained Toto.
The Coldest Heart opens with some dark-sounding bass from Brandt. His bass does a lot to drive this album, but rarely does he stand alone quite like he does here - and the tone used helps to set a creepy vibe before the band crash in. When the rest do join in, too, there is a doomy heaviness to the track which differs from much of the rest of the material here. Kallio's keyboard playing recalls the style he employs with Amorphis, with rumbling organ utilised at times, whilst the guitar is much nastier early on - with a slow riff setting a heavy tone. The song overall, though, is pretty varied. This heaviness certainly does not stay throughout, as Kallio's piano takes over during a verse which is surprisingly jaunty given the slower nature of the piece - with hooky piano melodies and a slow rhythm section groove sitting side by side. The chorus is quite different, too, with subtle background vocal shouts and a slightly more strident overall feel - which is later fully captured during Vanhala's guitar solo which sees him cut loose more than he has elsewhere up to this point with some busy shredding. The song is one of the album's most interesting cuts, then, due to this variety - and it is another which has become a bit of a favourite over repeated listens. Anomalie ups the pace and goes for more of a metallic feel - at least early on. Much of the album generally feels pretty mid-paced but, while this track is not significantly faster, there is more urgency this time. The overall dark vibe has been retained, but the drumming feels punchier throughout - whilst the busy bass playing during the verses helps to keep the track on the move. It is another song which feels quite anthemic, too, with another chorus which sticks in the brain pretty much from the off. The opening few songs did this, before the album sought to diversify its approach somewhat - so a return to the simpler arrangements of the early part of the album is certainly welcome as things draw to a close. It is hard not to sing along with the chorus once it gets going - and there is a pretty cinematic guitar solo, too. The album then comes to a close with Alone Together, another slower piece - but one that does not really feel like ballad, instead going for a slightly doomy vibe with rumbling bass, drawn out guitar chords, and cold synths. The song takes a little while to get going, too, with synth and atmospheric sounds swirling around to set a tone before the band kick in proper - and the track is one that builds on a lot of core gothic tropes to create a more epic-sounding closing track. There remain plenty of memorable vocal melodies, with a slow-burning chorus which is brought to life thanks to some shimmering keyboards and the occasional guitar lead, but this is generally a song which really doubles down on atmosphere creation - as the song is one that tends to dwell on its instrumental sections a little longer to allow for some hypnotic melodies to really bed in. There are hookier pieces here, but there are fewer songs which nail the gothic brief so clearly - and the slow-burner ends the album on a high. Overall, then, Nordic Gothic certainly achieved what it likely set out to do. It is not the most original album but the songwriting is tight and Stanne really shines throughout as a singer. It is unclear at this stage whether this is a one-off project or whether more is to come from the five-piece - but given that gothic rock is less common now than it once was there seems to be room in the world for more from Cemetery Skyline in the future.
The album was released on 11th October 2024 via Century Media Records. Below is the band's promotional video for Violent Storm.
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