As a long-time aficionado of John Carpenter’s films and music, any new release is a cause for celebration, as far as I’m concerned. Carpenter has directed, written, composed and played the music for – and even cameoed – for an impressive range of films, including Halloween, The Thing, They Live, The Fog, Escape from New York, Assault on Precinct 13, and many others. He retired from filmmaking after feeling burned-out on The Ghosts of Mars – only to be tempted back briefly to direct two episodes of the excellent Masters of Horror TV anthology series and the feature film The Ward. After this, he jointed forces with his son Cody and Godson Daniel Davies, to reimagine his many film themes over the two Anthology collections and to launch what would be a highly successful series of Lost Themes CDs and vinyls produced in the style of original movie sequences, but without an accompanying movie! He was also tempted back to compose the scores for Halloween (2018), Halloween Kills and Halloween Ends – and, strangely, the remake of Firestarter. So, when Cathedral was announced, it was logical to assume it was the latest of the Lost Themes.

However, Cathedral, is an entirely new concept. It reportedly originated from a dream Carpenter had. The premise is that the death of a policeman in Los Angeles brings Lieutenant Christine Marks, along with detectives Paul Hernandez and Steve Mayfield to an abandoned cathedral, where a centuries-old evil is imprisoned within the catacombs. Available separately is a graphic novel of the tale, each chapter of which aligns with the corresponding track on the CD. Although it wasn’t initially envisioned as such, Carpenter describes this as their first Heavy Metal album (of course, there was a 1980s Metal band called Cathedral, but this coincidence is unconnected). So, this is the closest we have come to Carpenter music to match one of his films.

Here are my notes for the tracks: 'Primeval' - Keyboard chords churchlike, with echoing/reverb guitar. Simple but haunting. In bursts the band. Very engaging high and low tones. The longest track on the album, to set the scene. I love this; energy and melody, my two favourite things in music. It has real feeling. 'Identity' – Effective atmospheric sounds, Bell-like keyboards and cathedral music, which then changes to slow but slamming heavy plaintive sound. 'Inside Out' – Airy keyboards soar above a bass-driven, earthy guitar sound. This has a constructive hook. Without having seen the graphic novel, this still plunges you right into the peril and seething evil of a horror film, whilst maintaining an essential melodic link. Very nice. 'Abandoned Cathedral' – A piano sequence with floating electronica. A short piece which you just want to listen to for longer. 'Elevator' – Solid drumbeat, with a driving, repeated guitar riff, and high-pitched keyboards hovering. A slow guitar piece is kept with the timed beat, with the other music building up around it. Excellent. 'Elevator Two' – Sampled church vocals. Organ sound introduces a gruff, low guitar with twinkling keyboards over the top. It circles around to the opening, before becoming very dramatic. Shades of Prince of Darkness about this one. 'Desolation in the Underworld' – Rumbling atmospheric piece, with sampled strings effect.

'The Mapmaker' – Period sound with unembellished piano and cello sound. Plaintive in mood, before a beat plays-out the track. 'The Ferryman' – A stuttering rumble is intruded upon by heavy guitar, before moving aside for differing keyboard effects. A good use of throwing the sound between the speakers. Purposefully gruff and imposing. 'Lord of the Underground' – This one has a conventional Metal guitar riff, but this is the driving force for differing keyboards: a repeating piano piece, an electronic sheet thrown over it, with a twinkling church moment sprinkled on top. This track has everything. A layered cake! Perhaps a contender for a single release. Certainly, my favourite track. 'Death of the Mapmaker' – Old school piano, with more modern effects coming in over the top and stamping it out. A short segment. 'Back to Ruins' – Has a marching feel, which briefly made me connect to Carpenter’s ‘The Dead Walk’ from Lost Themes III: Alive After Death. 'Revenge' – Rattling beat and heavy over-driven guitar, which becomes a flying-like melody that seems to thicken and widen as it progresses, before breaking-down to start again. 'Resolution' – Flickering keyboards over bass string effect. Provocative and plaintive. Sad, even. A fitting conclusion to a thoroughly entertaining album.

Cathedral is a phenomenal piece of work. John and the lads should be proud. It has everything that a horror fan and Metal fan could want. It also evokes emotion, which is rare for an album with no known accompanying story. I believe the graphic novel should be available with the CD as a set, but I can say that with a month between the release dates of the two, the listener is able to create our own mental images before associating the official ones. Some people will group this in with Carpenter’s Lost Themes releases… which is okay. So, let’s call it the best of those.

10

Ty Power