Cathedral officially found its start on late 1989, when founder members Lee Dorrian and Mark ‘Griff’ Griffiths were discussing their love of bands like Trouble, Pentagram, Black Sabbath, St. Vitus, Melvins, Candlemass, etc. The setting was at a Carcass show in Cardiff, where Griff was roadie and in charge off the projections of gore for that band. After more than several beers, the pair came to the conclusion that they should form a band in the vein of their heroes and thus the idea was born.

The next morning, the pair awoke with painful hangovers and the nagging question – “Ok, we’re gonna form a Doom band, but, who the hell is gonna play in it, besides us??” Death Metal was almost reaching its peak, at this time and not too many people (let alone musicians), shared the pair’s love of all things slow. Lee Dorrian, also, said that the first guy he went after, to form a new project with was Michael Amott, but, it didn’t come off the paper.

Griff had been editor of an exclusively Doom Metal fanzine, Under The Oak, a copy of which he had sold to Garry ‘Gaz’ Jennings, almost a year before, at a Candlemass show. Gaz had played/sang/produced the doom/thrash demo Sorrow’s Epitaph, under the moniker Morbid Doom. The pair had kept loose contact and Dorrian had already been introduced to Jennings, via Dan Lilker, sometime earlier, at a Nuclear Assault/Acid Reign show.

Both Griff & Dorrian had been suitably impressed by Gaz’s obvious love & dedication of Doom Metal and needless to say, he became target number 1!

The band’s first rehearsal took place at Rich Bitch Studios, in March 1990. The line up being Dorrian – vocals, Griff – rhythm guitar, Gaz – main guitar and initial drummer Andy Baker, who had previously played in Sacrilege, Varukers & Cerebral Fix, amongst others. This rehearsal consisted mainly of Gaz & Griff jamming some Vitus' tunes and playing around with a few riff ideas to get a vibe. After a couple more rehearsals, it became clear that Andy wasn’t too enthusiastic about the slower than slow torturous wah-wah drudgery that was grinding out of the duo’s crumbling amps, and was replaced by Coventry drummer Ben Mochrie, who had played in several local hardcore bands. After a fruitless search for a bassist, Griff decided to switch from six strings to four. Such was the band’s love of the twin guitar harmonies of early Trouble, they decided that the line up wouldn’t be complete without the addition of a second guitarist, who came in the shape of Adam Lehan, who joined just prior to the recording of the band’s first demo.

When Cathedral first came onto the underground scene, they were churning out the slowest and most pain filled dirges the world had heard. This in itself was a surprise considering that its members Gaz Jennings and Adam Lehan had both been a part of the comical thrash outfit Acid Reign and vocalist Lee Dorrian had just departed from grind-core kings Napalm Death.

Their first release, In Memorium, was a self produced demo released through Lee’s then beginning Rise Above Records label and it gained them underground world attention. Following its release, the band completed several tours with acts as diverse as S.O.B., Saint Vitus, Morbid Angel, Young Gods and Cranes.

The following year and one drummer less, they were picked up by Earache UK and released Forest Of Equilibrium, which featured ex-Dream Death and current Penance drummer Mike Smail, guesting behind the kit. As with their demo, Forest Of Equilibrium was well received by the underground metal scene. It also attracted the attention of Columbia Records, in the states.

In 1992, Cathedral recruited another ex member of Acid Reign, drummer Mark Wharton, and recorded the Soul Sacrifice EP, which first began to show the direction their music was headed in. That direction displayed a more retro 70’s influenced hard rock sound or “stoner doom”, if you will. The band went out on the infamous Gods Of Grind tour, alongside labelmates Carcass, Entombed and Confessor. After this, the band returned to Europe to tour, once more, with Saint Vitus.

With Soul Sacrifice being released in the States by Columbia Records, the band embarked upon their first trek across the Atlantic to tour with friends Napalm Death, Carcass & Brutal Truth. The lengthy tour was known as the Campaign For Musical Destruction and was a resounding success. Unfortunately, the potential strains of major label pressure and touring and the new material direction, had taken its toll on founder member Griff, who decided to quit the band following the tour.

At this time, the band hired the services of former Cronos guitarist Mike Hickey as a live bassist . The band played at the CMJ in New York alongside Trouble, COC, & The Obsessed, followed by a trip to Israel, at the Christmas end of ‘92. Also, just before the end of that year, the band played a series of dates in Germany with Napalm Death, Trouble, The Obsessed & Crowbar. This paved the way for the monumental The Ethereal Mirror (which originally had the pre-release studio title Decadence, although I have a magazine where it was advertised as Journey Into Jade). Without a permanent bass player, it was down to Gaz to play on the album.

Response to The Ethereal Mirror was generally ecstatic, with occasional references such as ‘The next big thing in metal!’ The band were not so ecstatic and slightly bemused by what they had recorded.

Upon release of the album, the band embarked on an European tour with Sleep and Penance. Also, appearing on the German shows were Cannibal Corpse and Fear Factory. Following this, Cathedral made their live debut in Japan, alongside friends Brutal Truth, which turned out to be a resounding success. This was to be the final string of dates with Mike Hickey, who later went on to join Carcass.

Mike was replaced grindcore legend Scott Carlson who was to become an important member of the band, but, unfortunately never got to play on an album, until 2011.

By this time, Cathedral began to discover the woes of big recording labels. Columbia wanted the band to tour hard, despite the band questioning the labels choice of tour, the band succumbed to their demands and opened up on a long tour with Mercyful Fate and Flotsam & Jetsam. This tour led to strains within band personnel and they weren’t exactly happy with touring conditions. After several incidents, Cathedral were asked to leave the tour. Apparently, Dorrian had announced that he thought King Diamond was a ‘pussy’, at one of the few shows that Cathedral managed to play where Fate had pulled out of.

Word got back to King who had demanded an apology from Dorrian, who flatly refused. The band left the tour in Florida and by this time they were more than happy to do so.

Adam Lehan had decided that he was gonna quit the band during the Fate tour, for personal, musical and medical reasons, but, fulfilled the obligation of touring the States a couple of months later with Rob Halford’s Fight. The tour was a lot more easy going and the band enjoyed it, but, the damage had already been done. Lehan played his last show with Cathedral alongside Pentagram, Iron Man and 13, at the Grand, in New York, on December 7th, 1993. This was also to be the last show with drummer Mark Wharton.

Prior to the Fight tour, the band had entered the studio once more with the desire to record something a bit more raw and off the wall than the bigger produced The Ethereal Mirror album. Testing Columbia’s promise of ‘free creativity’, Cathedral released Statik Majik, in 1994, in the UK. This 40 minute EP featured the epic “Voyage Of The Homeless Sapien”. This track alone took up half the EP’s time. It also featured a vast variety of musical instruments and objects, plus Lee’s tripped out ad-lib in its closing, with a flushing toilet no less! The Columbia label released the EP as Cosmic Requiem, in the states. It featured different cover art and one alternate track to the UK equivalent (“A Funeral Request – Rebirth” instead of “Midnight Mountain”). Cathedral also fought tooth and nail when Columbia tried to omit “Voyage Of The Homeless Sapien” in favour of “Fountain Of Innocence”, because “Voyage of…” wasn’t the kind of song that could be easily marketed to the metal buying public (Columbia had released a cassette demo with the name Innocence Requiem without the band’s knowledge). This is when the honeymoon period with Columbia showed first signs of waning.

The band had been offered the support slot on the forthcoming European Black Sabbath tour. Being two members down, this did not deter Lee, Gaz & Scott’s obvious desire to want to play alongside the masters, so, they approached Pentagram members Joe Hassalvander (Drums) and Victor Griffin (Guitar) to see if they fancied filling in. They both agreed and the tour went ahead along with new US band Godspeed. The tour was a lot of fun and the band became quite friendly with Tony and Geezer. Unfortunately things didn’t quite work out with Victor, who went home from the tour early, after a show in Budapest.

Continuing the tour as a four piece was a bit worrying for the band, but, on the first night with only one guitarist, Tony Iommi approached the band and said they sounded a hell of a lot better. This was all the reassurance they needed, and is probably the reason that the band is still a four piece to this day!

The rest of the tour went well, but the band were unsure of their future with a line up, so were forced to cancel a tour of Ireland, which was scheduled not long after.

Bassist Scott Carlson was living in Chicago and the band had decided to stay as a four piece. The guys had been friends of Barry Stern from Trouble, who also lived in Chicago. With offers of gigs coming in all the time, the band asked Barry if he would like to help out for a while. This also meant that he and Scott could jam whilst they away from England.

Barry played a few UK shows and festivals in Belgium (Viva Rock), France and Sweden (Hultsfred). The band were still looking for a permanent drummer, and had held auditions in England, but just couldn’t seem find the right person for the job. Whilst still being signed to Columbia, having a cross Atlantic line up didn’t seem to be too much of a problem. The record company were anxious to hear new material from the band, and Scott had become pals with a drummer called Dave Hornyak, who also lived in Chicago and wanted to try out for the band. It was decided that Lee and Gaz would relocate to Chicago for a month or so to work on new material and try out Dave. Rehearsals went well and things were starting to look good, so the band were happy with a new line up and played a one off show in Chicago, before Lee and Gaz returned back to England.

Towards the end of the year, Dave & Scott came over to England and the band played a few shows with Electric Wizard and Mourn. Then they went into Rhythm studios to record a five track demo of new songs.

Everything was looking good and the band were happy with the new line up, and positive about the future. Then one day just before Christmas, Lee received a phone call from their A & R man in America saying that Columbia no longer wanted to work with the band. The news was hardly a surprise to the band, but, it was a big blow as it meant that they would have to lose American members Scott and Dave. It was especially hard for Lee & Gaz to think about losing Scott, because, they had become very close and been through a lot together. They tried to think of ways to make it work, but, ultimately, lack of finances made it impossible and Scott was forced to leave.

This was a very down period for Lee & Gaz, who were now the only two members left, and were forced to seriously question the feasibility of continuing. The next months were just full of new business and political horror stories that the pair were confronted with on a daily basis. The pair were determined not to be defeated by the powers that be, and decided that Cathedral was too important just to give up. So after a seemingly endless period of dark days, the band decided to hold auditions to find permanent UK members for a second time. This time the auditions were more fruitful and Lee and Gaz were very happy to discover the talents of drummer Brian Dixon & bassist Leo Smee, both of whom were welcomed into ‘The Coven’.

There was no time to hang around, because, exactly one week after auditions, the band were straight out on tour alongside Deicide and Brutal Truth, where they played a selection of new songs.

Shortly after this, the band played at La Folies festival in France, and performed just prior to Van Halen at the Roskilde festival, in Denmark. This now toured and tight doom foursome entered Parkgate Studios in Hastings to record the gargantuan The Carnival Bizarre. An album that merged the free rockin 70’s spirit with the doom they lived for. One of the tracks on this release, “Utopian Blaster”, even features guitar solos from Tony Iommi of Black Sabbath.

The album bought Cathedral back into the limelight, and was met once more with critical acclaim. The band toured extensively in Europe with Crowbar, Scandinavia with Motorhead, UK and Australia with Paradise Lost and made a very successful return visit to Japan. Getting deeper into the seventies/experimental vibe, Cathedral released another EP following the album’s release. Titled Hopkins (The Witchfinder General), the EP featured one song (the title track) from their previous release. It also had a cover of “Fire”, an old 60’s tune by The Crazy World Of Arthur Brown. The surprise which people should have come to expect from this innovative band, was the gothic disco influenced “Purple Wonderland” and the funky blues rocker “The Devil’s Summit” (which featured saxophone and Hammond, amongst other things). Reviews for this release were mixed.

It was also in this time that Cathedral returned to the States for a tour with doom legends Trouble, which was sponsored by High Times and Jagermeister!! Somewhere in the middle of this tour, Trouble decided they couldn’t go on as a group and they bailed out of the tour after a show in San Antonio, leaving Cathedral stranded in the USA. The band managed to play a couple of headlining shows, borrowing local bands equipment. They failed to complete all of the dates due to lack of funds, and returned home after the New York show, at Wetlands.

After touring solidly for almost a year, the band rather mistakingly decided to go into the studio without much preparation at all. Exactly one year after the recording of The Carnival Bizarre, the band returned to Parkgate studios to record Supernatural Birth Machine with only literally one week of preparation between the end of the tour and studio time.

To say that the band were under rehearsed is an understatement!! Dorrian was actually writing a lot of the lyrics literally minutes before they were recorded, with no rehearsal whatsoever!

This LP release sparked criticism in that some felt it below Cathedral’s usually well produced standards, whilst others praised it as one of the band’s best. The American version further complicated things when Earache USA completely changed the albums packaging in an attempt to cash in on the so-called “stoner sound” (when will record label suits learn to leave the bands alone?!). The band knew nothing of Earache Record USA’s decision to do this and sent apologies to anyone ripped off by this “inferior package”.

Prior to the release of Supernatural, the band went off to South America, for a tour that was scheduled to take in Peru, Chile, Argentina and Venezuela. The Cathedral curse struck them once more! First stop was Columbia, where the band were scheduled to stop for three weeks. Shows were apparently amazing and the band enjoyed themselves and the country, until things started to go wrong. A series of events occurred which posed a danger to the band’s well being, ending in Lee and Leo being both held at gunpoint with rifles to their head by Police, who fleeced them of all their possessions and threatened them with imprisonment.

After a series of other horror stories, the promoter decided to disappear with all the money that was supposed to take them to the other countries. The band decided to cut the tour short and return back to England. With a seemingly steady line up and an ever growing fan base, the band continued with a heavy touring schedule which saw them touring Europe with My Dying Bride, return trips to Japan (with Arch Enemy) and Australia, Greece, amongst others.

Following these said tours, the Cathedral machine came to a grinding halt. The band had no choice, but to wait for the label suits to decide what they would or wouldn’t release next (contracts and shit). For three years, almost nothing was heard from this now legendary band. Many feared this was the end. I even heard a rumour that Lee was broke and an alcoholic! But these were all unsubstantiated.

The band played at the Dynamo festival, in 1998, then, later that year it was announced that a new Cathedral LP would hit the streets late that year. “Caravan Beyond Redemption” was that LP, gathering all the various elements of the previous LP’s and EP’s and adding a twist all of its own.

This album, again, took them out on the road, touring Europe with Orange Goblin and Terra Firma. They also returned to Japan (with O. Goblin), Australia and Greece, then played various other UK shows.

It was then announced that the Cathedral home video Our God Has Landed, originally recorded at Tokyo’s On Air East, on April 13th, 1997 and released only in Japan, the following year (it’s the only of the 3 releases of this title, which contains Soul Sacrifice, on the setlist), would be re-released with all the band’s prior promotional videos as a bonus. Further more, In Memorium was to re-surface as In Memoriam; still on the original Rise Above label, the re-released demo was repackaged. Tacked on to the end of the essential EP was a five track live recording from 1991 (which were alternate recordings from the Mexican released bootleg called Echoes Of Dirges From The Nave).

Not satisfied with a mere re-release of their demo, Cathedral also have re-released the rarities Soul Sacrifice and Statik Majik EP’s as a two-on-one CD deal in the UK and USA. One EP has been long out of print in the States and the other available only as an import (and were very welcome by the many fans who missed them the first time). Cathedral returned a couple of years later, in 2001, with the release of Endtyme, which saw the band quite possibly at their heaviest so far! The production was a lot more stripped down, and the band displayed a slightly more return to the roots vibe. Also, in early 2001 cathedral saw their first dvd release, that being the Our God Has Landed video package. Southern Lord records have, also, brought into existence, a 7" EP with two rare tracks from the Endtyme sessions; the EP with “Gargoylian” b/w “Earth In The Grip Of A Skeletal Hand” comes on standard black wax, plus ultra cool yellow or blue wax.

Since the recording of Endtyme, the band once again, hit the road, this time, touring Europe and Japan with Rise Above Records artists Hangnail. They also made a one stop visit to the States, to play the New Jersey Metalfest. Later in that year, the band toured Europe with old friends Entombed.

The release of Endtyme also marked the end of the band’s long history with Earache records; after ten years of ups and downs the band were free from contract. They since decided to accept a deal offered to them by Dreamcatcher Records. The beginning of 2002 saw the band return to the rehearsal room, in Liverpool, to commence the writing of their seventh full length release “The Seventh Coming”! Definitely a lot more varied than the out and out nihilism contained within Endtyme’s dark grooves, The Seventh Coming takes the band on a more contrasting journey. With a dynamic production, once again courtesy of Kit Woolven, and sleeve art created by the band’s unofficial extra member Dave Patchett, the band are once more ready to hit the road.

They played the UK with Electric Wizard in 2002 and in 2003, did an extensive ‘tour’ of Europe with Samael and went to North America for a series of dates, in September, with Strapping Young Lad and Samael, again.

The tour continued until the end of 2003, and the band didn’t rest, signing a contract with the record label Nuclear Blast, in July 2003. By January 2004, the band had already played some shows in Greece and one in Sweden, and in the middle of the year, they prepared a major release!

The double compilation of classics and rarities, The Serpent’s Gold, features only the classics that Lee and Gaz handpicked, such as Ride, Hopkins, Melancholy Emperor, Equilibrium, and Voodoo Fire, attempting to cover their entire career in a simple and direct way, surely attracting more fans. The second CD is titled The Serpent’s Chest and is packed with rarities from the band’s private archive! This CD features demos from the Forest Of Equilibrium and The Carnival Bizarre eras, as well as a cover of Rabies by the legendary Witchfinder General, live recordings, and previously unreleased tracks. The booklet also includes photos of the band and an interview with the master of the 6-strings guitar, Gaz Jennings, and Lee Dorrian. This release is a must-have for both new and old fans of the band!

Also around this time, between June and October 2004, Cathedral began preparing material for their next album, which would be their first on their new label, Nuclear Blast. There were even names for new songs and a possible album title, Seeds Of Decay, scheduled for release in February or May 2005. But none of that happened, except that they were actually writing new music!

To promote this compilation, the band went on tour in July, playing shows in England and two festivals in August: Wacken Open Air, in Germany and Ilha do Ermal, in Portugal. In October, they were confirmed as the opening act for H.I.M. in the UK, which provided great exposure to different audiences. In November, they participated in the Rock At Sea festival in Sweden, and in December they played two shows as headliners, plus two with Witchcraft, and one to finish the year, opening for Paradise Lost in Wolverhampton.

In May 2005, official news stated that the masters of British ‘Doom’ were preparing to enter New Rising studios with producer Warren Ryker (Down, Crowbar) to record their eighth LP. With the provisional title of The Garden Of Unearthly Delights, the album will mark the band’s debut on the Nuclear Blast label; Lee Dorrian stated that the new material is exciting, much heavier and a little different than usual.

The album will have two parts and for now, the vocalist will not say more than that. With a career spanning more than 15 years, the band has seen many ‘fads’ come and go and yet they continue to create in their own original way ‘Classic Heavy Metal with dark nuances of Progressive and Psychedelia’ and seem not to surrender to the constant changes that occur in the face of modern metal. Some possible titles that may appear on the album include: Tree Of Life & Death, Upon Azrael’s Wings, Corpsecycle, and Oro, The Manslayer. The Garden Of Unearthly Delights will once again feature the epic artwork of the band’s longtime artist, Dave Patchett. The album is scheduled for release in September.

And finally, on September 26th, The Garden Of Unearthly Delights hits the streets. The album showcases Cathedral’s heavy, dynamic, and fantastic sound with ultra-heavy songs, ultra-heavy riffs, and best of all, they are still catchy, classic, and wonderful! The tour began in Glasgow on September 2nd, continued on the 3rd at the Bloodstock festival alongside After Forever, Nightwish, Raven, and others, and on the 4th they opened for Within Temptation at London’s Astoria. In October, they were scheduled to play in Europe alongside Candlemass, but, lack of funds led to the tour being cancelled. More shows were scheduled for September in the Netherlands, Belgium, and Switzerland.

After touring for The Garden Of Unearthly Delights album, until 2006, the next 3 years would be of hibernation, and also, of considerations by the band, if they should go on, recording and touring, ‘cos management and financed were weighing, as It did, in the 90’s. The band, also, wanted to take a total different direction on the next material and as of 2008 into 2009, the band started to send each others files with ideas for the new material.

In April 2009, Cathedral played Roadburn Festival, in April and a new song was presented, giving fans a taste of what would, possibly, be the sound of the next album. By the end of that year, the band had rehearsed and written songs enough to enter the studio and committ to tape what would be their most experimental and longest album ever. The Guessing Game hit the streets, on March 26th, 2010, and as It might seem and sound a bit all over the place and even aimless, the double album has really strong, classic material and very varied, where the highlights are in the different styles and vibes the songs feature.

The tour started in April and the setlist had a good number of new songs, such as Funeral Of Dreams, Painting In The Dark with Lee’s girlfriend’s grandma introducing the song, in short, but, funny ways, Death Of An Anarchist, Cats, Incense, Candles & Wine with its quirky, unique mix of folk, Prog and 60’s garage rock, the U2 meets Black Sabbath quasi alternative rock La Noche Del Buque Maldito (aka Ghost Ship Of The Blind Dead), another one dealing with the ‘Knight Templars’ carachters, among older and new Cathedral classics.

The tour followed through Europe, with Church Of Misery and Gates Of Slumber as openers, and also, the band played on a lot of Summer festivals, in the continent. By this time, the band had already laid plans for a special event, which was its highest point: a gig at the end of the year, celebrating the 20th anniversary of their existence, playing the seminal debut album Forest Of Equilibrium, at the O² Academy, in London, on December 3rd, with the line up who recorded the opus; after the Forest set, the band’s then current line up hit the stage for a stunning set, that was filmed, but, not released, on video, as of yet, but, it spawned the double live album Anniversary, on the following year.

As 2011 dawned, in February, news about the band came around and, unfortunately, the mighty Cathedral announced its end! The band has been many a times on the verge of splitting up and, this time, it couldn’t be avoided, as it also couldn’t be avoided the departure of Leo Smee. That year, the band played many gigs worldwide, visiting Brasil for the first time, playing the country on June 24th, in São Paulo and the following day, in Varginha, on the state of Minas Gerais. Scott Carlson came from the states to join the band, once again.

By this time, the band had already laid plans for the farewell tour, which had its highest point on a gig at the end of the year, celebrating their final british show, at the HMV Forum, in London, on December 3rd; also, at the London gig, their new EP, A New Ice Age, which released the day before, was being sold, on the merch stands.

Together with the news of the farewell tour, the band announced they would enter the studio, in 2012, for the last time. The line up for the last studio album had a change, though, as Leo Smee (who already had left the band, on 2003) gone for good, giving way to the return of long time friend of the band, who helped them as bassist for the 1994 tours and for The Carnival Bizarre demo, also writing 2 songs: Scott Carlson. He was already part of the band, since the beginning of 2011.

The band entered the studio with Jaime Gomez Arellano on the production helm and recorded, according to Lee Dorrian “almost their second album last”, ‘cos It captured the classic doomy, dirge like vibes of their debut opus. As a teaser, the band released a flexi disc, through Decibel magazine, with Vengeance Of The Blind Dead.

On April 29th, 2013, The Last Spire was released and it is a fitting end to a difficult, but, illustrious and fantastic career; no songs of the album were played on the previous year tour, which was a shame, as they’re all potent, merciless slabs of a bleak, angry, mystical, but, realystic vision of instituionalized existence. Tower Of Silence has a vídeo clip and it is the first track that did hit fans ears, with a sequence of monstruous rifferama by master guitarist Garry ‘Gaz’ Jennings and his unique, quirky melodic lines, with great taste, in the form Of Pallbearer, Cathedral Of The Damned, Infestation Of Grey Death, the prog spookiness on the incredible An Observation and closing with anthemic dirge This Body, Thy Tomb.

The band made their final gig at the Soundwave Festival, in Melbourne, Australia, on March 5th, 2012. After disbanding, all members got involved in many other projects: Lee and Leo formed With The Dead; Garry formed Lucifer with Johanna Sardonis and Death Penalty with belgian musicians; and Brian played with The Obsessed.

Since the news of extra songs being excluded from The Last Spire, and two of them being released on a compilation and another, on an EP, there was an epic one, at the 30 minute mark, that made fans go mental, rabid to get hold of it.

Many years later (13, to be clearer), producer Jaime Gomez Arellano was scanning lost files and found this very opus and, immediately, contacted the band to state that it was too fucking incredible of a tune, to be kept, in the vaults. So, on October 3rd, 2025, Society’s Pact With Satan was released as an EP, and it caught the eyes and ears of the Metal world and the reception, joy and reviews were of the highest praise. The lyrics are words one should really read and reflect upon, ‘cos that’s the real deal! The music is like only Cathedral could craft and deliver. One of the best releases of the year!

There’s no talking on the band camp, although, they just released an official Bandcamp page (pun intended!), about a reunion, but, after releasing a long lost, forgotten even by the band, epic track as this, anything can happen.

When the band was active, the question was: “Where will the cosmic horsemen of doom go from here?! We can only watch and wait.” Now, we can ask: “Will the cosmic horsemen of doom come back from there?!”

Anyways, Doom on!!!

Words Lee Dorrian adapted from original draft by Jon Tombsmoker. Band’s history words from 2002 tour paragraph onwards, plus, some extra infos on the original text, by Jeffmetal.