John Carpenter
Cathedral
SACRED BONES
With Cathedral, John Carpenter returns to soundtracks “for the movies in your mind” after his Lost Themes tetralogy wrapped up in 2024. The Halloween composer-director is getting more ambitious with his craft on this latest effort, a gothic chiller that could comfortably soundtrack a film just as easily as it does his first-ever graphic novel. Carpenter is once again joined by his godson Daniel Davies on guitar and his son Cody Carpenter on synths, continuing a partnership that spans the Lost Themes album series that kicked off in 2015, as well as their scores for David Gordon Green’s recent Halloween reboot trilogy and multiple reworkings of Carpenter’s classic movie soundtracks. The whole production is a family affair, given that the graphic novel is a partnership between Carpenter and his wife and long-time creative partner, Sandy King (with whom he also runs Storm King Comics, the graphic novel’s distributor), along with their longtime production assistant Sean Sobczak.
Each track from this growling, synth-filled heavy metal album lines up with a chapter of the graphic novel, with liner notes guiding listeners through a plot snatched from a vivid dream Carpenter had one night in 2024. Cathedral’s story revolves around an abandoned church in Downtown LA, which becomes a focal point after a police officer is savagely turned inside out. Detectives become ensnared in an investigation that brings them into its underground catacombs and leads them toward a centuries-old corruption trapped inside. “Primeval” kicks off the record with distinct ’80s synth vibes before charging forward with some rollicking guitar and drum interplay, perfect for the opening panels of the graphic novel as the cops roll up to the cathedral to find an officer down. “Identity” has the culty vibe down pat as it starts with a roll of thunder and pouring rain. Ominous piano and church organ creep through the shadows before another gorgeously clean Halloween synth line pops up around the corner, enshrouded by a violin. Then the guitars and drums start blasting like old Hollywood thunder and lightning.
It’s a similarly creepy vibe for “Inside Out” and “Abandoned Cathedral,” the latter drenched in autumnal piano and organ. “Elevator,” “Elevator Two,” “Lord of the Underground,” and “Revenge” are the most straight-ahead metal songs on the album as they comfortably soundtrack the investigation going deeper and deeper into the bowels of this evil cathedral. “Resolution” sets up the closing panels and credits with a flourish, but there’s unease in the air. Altogether, Cathedral is an exhilarating visual and musical experience, but the album and graphic novel stand on their own merits.
