Cathedral
Stained Glass Stories

The Cathedral I would like to talk about are not the renowned English doom metal band led by Lee Dorrian.

The Cathedral from this splendid album, "Stained Glass Stories," are a mellow American band (New York to be precise), which lived for the span of one album and then disappeared, partly due to sales (rather few) and partly because the progressive rock they sought to embed in their sole album was already losing ground. In 1976, the year of this gem's initial release, major progressive bands were altering their paths (Yes, Genesis), and newly-formed ones (Rush, Camel) were steering this musical genre to other shores. Despite all, Cathedral seemed to live in an unspoiled oasis, where time had stopped (let's say around 1972), where they could calmly record a symphonic progressive music album based on the model of the great English bands that had made history.

Their sound doesn't shine for originality, it's true, references to Yes are abundant, yet there is no lack of a certain quest for experimentation and a truly superb use of alternating melodic, nocturnal, cathartic moments with more dynamic ones, featuring challenging and intricate rhythms that gradually build up until they explode. The album is not easy to listen to: you can't just put it on the turntable (the CD version is practically unavailable) and let it play. The tracks captivate with their precision, perfection, and the presence of numerous instruments simultaneously: it's common for Paul Seal's ethereal and dreamy voice to be accompanied by organs, acoustic guitars, percussion, and classical instruments without ever saturating the sound. No instrument dominates the others, creating intense instrumental passages balanced between the organized chaos of the more experimental King Crimson and the symphonic classicism of Yes. The best example of these devices is the track that opens the album, "Introspect," a small suite where ideas and the experimentation I mentioned are certainly not lacking. Rudy Perrone's soft guitar stands out in the final part of the track with typically progressive solos and melodic recalls leading to a superb acoustic closure.

The next track, "Gong," keeps its promises. An excellent instrumental, with dreamy moments featuring acoustics and orchestral keyboards and accelerations seamlessly integrated into the track's progression. Once again, Perrone's guitar crafts never trivial melodies in the solo that transitions into a technically outstanding arpeggio, showcasing not only the guitarist's but the entire group's talent. We move on to the B-side of the album. A church choir introduces what is undoubtedly the most experimental track of the entire work: "The Crossing." It's impossible not to think of Genesis while listening, especially as Seal's voice can be deceiving, reminding one of Peter Gabriel's timbre, especially in the high notes. The instrumental part, however, is very personal and perfectly fits the stylistic canons previously described. "Days & Changes," introduced by Seal's lone voice, presents itself as a more melodic and relaxed track but soon retakes the group's ideal paths. This time the sound is markedly Yes, with orchestral organ passages alternating with technically impeccable staccatos that primarily involve the bass and drums while Perrone indulges his ever-tempered guitar whims. The track closes in a loop, returning to the initial choral theme. To conclude, the second suite: "The Search." The beginning is less tense compared to "Introspect", and the instrumental introduction gives way to Seal's always heartfelt vocals. The vocal melody, which stands out more in this track, is undoubtedly the best on the album. Brief voiceless staccatos between the verses add pathos to the song, which seems to grow in a climax where more instruments join in, and the drums gain speed. To close it all, long organ chords with the early period King Crimson and Gabriel's Genesis influences always evident. I want to clarify that these constant comparisons are not meant to downplay the band but to give the reader a vague idea of the album's truly extraordinary complexity.

"Stained Glass Stories," as I've previously mentioned, is an album released in an unfavorable period for classic progressive rock, yet it possesses so many qualities that it deserves to be rediscovered and re-evaluated with the right attention. The ideas aren’t always original, and the inspiration from the great English progressive bands somewhat penalizes it, but it’s also true that experimentation (especially in some tracks) plays a primary role throughout the production. A band, New York’s Cathedral, that sought an identity but unfortunately didn’t fully find it and that, despite everything, gifted us a small gem that it's up to us to make the most of.