Cauldron. The name, the logo, the artwork….. everything is styled towards a retro horror aesthetic, and in a gloriously unsubtle manner. The Canadian group are described, by some, as part of the ‘new wave of traditional heavy metal’, a recent(ish) inclination towards the classic tropes that grounded the sound of the original wave of heavy metal in Britain in the late 70s and 80s (seeing as New Gods is their fifth album, maybe ‘continuing wave’ would be a better fit). This description is drastically at odds with the image on the album sleeve, as it has none of the visual elements you might expect from a ‘traditional’ heavy metal band. After all, you don’t see Saxon, Iron Maiden or Judas Priest with such a wishy-washy font for their logo! Not that bands should religiously stick to what is expected of their genre. If that were the case, then music would never develop and the monotony that would ensue is horrifying to contemplate.
By the time you are half way through opening track, Prisoner of the Past, it is obvious that Cauldron are drawing from a broad spectrum of influence while remaining comfortably within that classic metal sound. Musically, it is a by-the-book metal track, with a riff that sounds somewhere between Tony Iommi and Dimebag Darrell, but the overall sound is very wide and open, far from the precise and clinical approach of the latter guitarist. This production style is extended to the vocal track, which sounds distant and almost ethereal at times. Anyone expecting the typical high-pitched wailing approach to singing might be pleasantly surprised by vocalist and bassist, Jason Decay. He is unusually restrained for a ‘traditional’ metal vocalist, and places a much bigger focus on melody and vocal harmonies than on straining to squeeze out a high-pitched scream (except for a cringeworthy attempt in the closing stages of final track, Last Request). This works entirely in Cauldron’s favour as it enhances the gloomy and bleak soundscape while still giving engaging melodies and choruses for the listener to latch onto. The exception to this pattern is Together as None, a through-and-through 80’s rock anthem with an uplifting chorus and slow, chugging guitar line that reminds me of the chord pattern used in Every Breath You Take by The Police. That is in no sense a criticism: even the most extreme metalhead likes a good 80’s rock chorus every now and again.
Vocals aside, the guitar parts are the biggest draw of this album. Letting Go and No Longer both feature extended plucked chordal parts that sound like what could happen if Mastadon chucked out the more progressive elements of their music (current Mastadon, before any fans get upset). Save The Truth goes for straight-up power-chord riffing, whereas both Drown and Last Request use the rhythm and bass guitar to drive the melody behind repeated riffs. Much of it would sound right at home on a classic 80’s metal album if not for the previously mentioned production sound that gives the whole record a haunting quality. One of my favourite moments is the final two minutes of Save The Truth – Syracuse. The track gives way to a pulsating electronic droning sound of the kind used in early horror films as the poorly assembled cardboard monster emerges from the mist, or even used to herald the arrival of some new threat in an early Doctor Who series. Only in this case the threat is the drum salvo that opens the next track.
New Gods is a difficult album to pigeon hole and is more interesting for it. On the one hand there is an open and spacious production that makes the songs, even when turned up loud, sound distant and slightly haunting. On the other, there is the guitar work and vocal melodies that would make any classic heavy metal band proud. The combination makes for a confusing record. While all the right elements are in place, there are very few moments when you feel the urge to physically engage with the music, whether that be through head banging, moshing, dad dancing, or whatever else you feel like doing. I appreciated this album most when I could sit still in a dark room and just listen and absorb it, a rare feat for something that doesn’t dabble in anything overly ambitious and is ultimately a straight forward metal album. When you want a break from the intensity of other classic metal acts but don’t want to deviate too much, then New Gods might just be the album you are looking for.
Highlights: Letting Go, Save the Truth – Syracuse and Together as None
New Gods will be released on September 7th 2018 via The End Records and can be ordered here.
You can find Cauldron on Facebook, Twitter and on their website.
