John Carpenter's latest album, Cathedral, captures a cosmic horror vibe with a dose of metal

For years, John Carpenter has been scoring his own films and releasing albums with his son, Cody Carpenter, and his godson, Daniel Davies. Their latest, Cathedral, has plenty of synths that Carpenter's music is known for, but it also features a heavy dose of metal. The result is an album that rocks hard and assists the cosmic horror storyline that's part of the graphic novel of the same name.

To be clear, the graphic novel and album are meant to work together. For instance, the album's liner notes enhance the storyline of the graphic novel, which follows detectives who discover catacombs and unspeakable cosmic horror beneath an abandoned cathedral. That said, the album stands well on its own.

The album's opening track, "Primeval," is one of the longest on the album, clocking in at nearly six minutes long. It begins with the familiar synth sound that's such a part of Carpenter's filmography and music. However, the shift happens a minute or so in, when the guitars are introduced. They're louder than anything Carpenter has released so far, but again, they fit Cathedral's overall mood and tone. Just keep in mind that Cathedral's storyline is about unspeakable cosmic evil. The guitars go a long way in enhancing that feeling.

Meanwhile, tracks like "Identity" feature some gnarly sound effects that resemble heavy breathing and footsteps deep in the catacombs. These eerie noises put the listener in the mindset of the detectives, as they descend deeper into the gloomy setting. Additionally, there are moments at the beginning of that track that resemble the central score for Prince of Darkness, which Carpenter composed with his longtime collaborator Alan Howarth, specifically some of the religious-like chanting. You feel like you're in the church of hell. There's also a bassline in "Inside out" that sounds like a thumping heartbeat. Collectively, all of these little moments advance Cathederal's narrative.

There are also some straight up rockers that will likely sound great live, if Carpenter and company decide to tour with this album, and let's hope they do. For instance, "Elevator" sounds like a 1960s or 1970s prog rock track, at least for a minute or so, while "Lord of the Underground" is a perfect combo of synths and metal riffs. It's a freakin' banger and one of the album's standouts, especially the relentless, chugging guitar chords. No wonder they released it as a single.

While heavy as a whole, the album does have its softer moments, especially Kiara Ana's violin and viola playing, and Naill Ferguson's cello wok. There are also some melancholy interludes, specifically the song "Death of the Mapmaker" and its long piano intro. Overall, the shifts in sound create a layered and textured album.

While it's unclear when or if we'll get a new Carpenter film, we at least have Cathedral, a graphic novel that's enhanced by one impressive musical score. For fans of Carpenter's Lost Themes albums, Cathedral is a must-listen. The synths are ever-present, almost track by track, but this album feels much richer, enhanced by the metal riffs and additional musicians. As we creep closer and closer to autumn, Cathedral sets just the right mood. This album will pull you down to the catacombs where cosmic horror awaits.

Cathedral, both the graphic novel and album, are out now.

https://www.youtube.com/watch?v=Vj89q66nANs