This is the big return of Polish Doom/Gothic Metal masters CEMETERY OF SCREAM with a new album after 14 years. The band has to present new music since 2009, and signing with Sleaszy Rider SRL they are back with their new effort, “Oceans.” Atmospheric, doom/gothic metal, with dark melodies. catchy rhythms, and variety of vocals, this album sounds like a “best of” album of mid-end 90’s sound of Gothic Metal.

The title track is first, and it’s an introductory mood-setter, and the mood is somber from piano and smooth baritone vocals. “In the Blue” is next. Following some sober tones, the main sound kicks in heavy, and with energy. The riffs are sturdy and catchy, and of course, an ominous tone hangs in the air, and the vocals are the perfect pitch for the music. It makes a segue into “Along the Coast,” which has some nifty electronic effects. The main melody is simple, but very effective in hooking the listener. “Sunken Bells on Num – Yabisc” also has some electronic and is another catchy sound. Although the mood is somber, especially considering the harsh vocals, the music is quite energetic.

“House of the Fading Sun” has an even darker presence, and the chorus is driven home with a low in the registry, weighted sound that is also tinged with mystery. “Time to Let You Go” is a statement of a person who has had enough, and is ready to part ways with a failed relationship. The vocals are angry, and the song is enhanced with eerie piano notes. “Opening of the Mouth” uses strings in the opening that are somber and depressing. What follows is a sturdy riff with a chonky feeling. The pacing here is also quite hypnotic, and the sound harkens back to the past at times. “September Folk” is a smooth and mellow sound highlighting the band’s penchant for creating hooks on the album, and the emotions run higher in the chorus.

“I Shine” is a more straightforward rocker with plenty of keyboards and some more big hooks. The band draws you in and holds you there throughout the song, and as it crescendos towards the end, you can feel it in your bones. “Final Experience” has a heavy, chugging sound from a choppy riff, along with ominous notes that build in the background. The short “Everything Rhymes Goodnight” closes the album; a proper outro to an excellent album all around. The piano notes and calm vocals tell you that it is night, and time to close your eyes, and cling to the hope that the sun will rise tomorrow.

Electronics in Goth music? Catchy, exciting songs? Why not? I have always said that when you give a band 14 years between album releases, you are going to get one of two things: A band who stayed the same and let the years pass them, or a band who is busy pioneering their own path and is cognizant of the genre changes. Oddly, in this case, the band shows a remarkable ability to stay true to their roots while shifting just enough to keep fresh and intriguing.