“I’m with you forever.”
2023 is quickly coming to a close, and in about a month’s time, the musically inclined corners of the internet will inevitably begin to swell with “Top 10 Albums of 2023” articles and the like. If there’s one genre of music whose top 10 picks are going to be hotly debated this year, it is undeniably metalcore. Platforms such as Reddit have already hosted a myriad of discussions surrounding a potential metalcore album of the year, with frontrunners Currents and Invent Animate vying for the crown. However, 2023 also saw the resurgence of a long-since-lost era of metalcore, a sound that’s reminiscent of mid-2000s records such as As I Lay Dying’s Shadows Are Security and As Blood Runs Black’s Allegiance. The main culprit behind this revival wave is Connecticut-based label Ephyra, housing smaller groups such as Balmora and Adrienne, both of which have demonstrated their respective nostalgia-driven takes on metalcore through new releases this year.
Admittedly, my musical palette generally leans more toward forward innovation and driving forth a respective genre, as opposed to hinging on the elements of a long-lost era in that genre’s history. With that said, however, I do possess a weakness for this particular sound, as my metalcore upbringing was largely shaped by it (the aforementioned As Blood Runs Black record being a particular favorite). One particular group from across the pond that caught my attention last year was Birmingham-based metallic hardcore quintet Cauldron, with singles “Futile” and “Crossing the Threshold” kindling a ferocious fire that I’d thought had long since been extinguished in the scene. Of course, unbeknownst at the time, this was only an appetizer for what Cauldron had been cooking up, as the band’s debut full-length, Suicide in the City, is just under a week away from release, and while it does bear some of the imperfections of a typical debut record, it is also the band’s most diverse yet focused multi-track offering so far.
Opener “Off Script” is representative of all of Suicide in the City’s intentions right out of the gate. While the track’s initial segments demonstrate the band has not let the fire go cold, so to speak, it becomes clear a few moments later that they’ve got some tricks up their sleeve this time around. The middle section of the track weaves melodicism and heaviness, with abrupt yet cohesive transitions. Frontman Frazer Cassling’s vocal capabilities are on display here, as he effortlessly belts out an array of highs, lows, and everything in between, in full sync with the band’s ability to transition between melodic and heavier moments. The track concludes with a catchy but crushing breakdown that’s sure to be a crowd favorite, as the genre’s “low and slow” approach is accompanied by the band’s ability to create memorable vocal hooks. All in all, a more than satisfactory introduction to Suicide in the City and all the elements it manages to nail.
“Standing in Awe of a Monument” follows suit in the band’s ability to fuse melody with heaviness, albeit in a way that does favor melodicism this time around. In many ways, this track mirrors “Becoming a Scarlet Reminder”, the closer for their 2020 EP Last Words: Screamed From Behind God’s Muzzle. Bearing an eerily similar structure and length, I can’t help but feel this was an odd choice for a single. With that said, however, it is a fantastic song regardless, and I’d hoped for more melodically inclined tracks from this group after hearing the former for the first time, so it’s difficult for me to come up with anything truly negative about this one.
One half of 2022’s double single, “Futile” sticks the landing with its spot on the record, seemingly re-recorded with some added flair such as additional drum fills and improved production value, as well as a concluding sample that leads into the album’s follow up single “Rejection Pact”. While this is not a poor track by any means, my main gripe with the record makes itself known in its second half; I am, of course, referring to the clean vocals. In some cases throughout Suicide in the City, this addition is not a hindrance, and does serve a purpose, such as during the bridge in “Standing in Awe of a Monument”. However, I feel that in a lot of other cases, this is an element that could’ve been left out and instead replaced with the higher side of Cassling’s harsh repertoire. Cauldron have managed to produce powerful sections with this method in the past, and I think this approach could’ve made for an easier listen overall, especially considering some of these cleaner sections are average at best, and at times unnecessarily high in the mix to the detriment of the other members.
With all of this out in the open, I’d like to make it clear that there is nothing here that makes Suicide in the City unsalvageable or even remotely close to a poor overall experience. Just about every positive that I’ve previously explored in my review thus far remains intact and fairly consistent throughout the remainder of its runtime. “Lonely Useless Orbit” is swiftly approaching the top for me, with its blistering drum sections and sweeping guitar arpeggios in its chorus. This track weaves melody and ferocity like none other on the record; the transitions are seamless and swift, and a returning guest feature from Mortality Rate’s Jess Nyx aids in cementing “Lonely Useless Orbit” asa standout in the tracklist. “Falling Snow” contains what is quite possibly the most fun and addictive breakdown on the record, with absolutely killer drumming from Zak Jenkins, fruitfully demonstrating the band’s strong rhythmic side.
“Kingdom”, oddly enough, I found to be a rather enjoyable and satisfactory closer despite my previous vocal nitpick. The band manages to pull off an entirely clean track quite well; as a matter of fact, the cleans on display here fit better than anywhere else. While it wouldn’t be my first choice in a playlist, and doesn’t entirely appeal to my own personal palette, it’s difficult to fault the group for trying something new. The end result is admirable, and it is a good note to end on following the (organized) chaos of Suicide in the City’s second half.
While some original diehard fans might prefer the band’s prior material, I firmly believe that Suicide in the City contains Cauldron’s strongest material to date. While I didn’t always agree with it on a creative level, or love every song equally, it is undeniable they have matured faster than most, and once they’ve fully found their footing, I expect they’ll take the old-school revival scene by storm.
8/10
Suicide in the City is out November 3rd via The Coming Strife & Ephyra and can be pre-ordered here.