-Cauldron is a recent project that was formed only six years ago by Jason and Al. What was the main reason of the demise of Goat Horn and where did the idea of continuing as Cauldron came from? Is Cauldron a more serious project or was it just life playing its usual tricks?

Hey what’s up? I guess Goat Horn broke up from musical differences with Jason and Brandon (guitar). Jason had no intention of quitting music but didn’t want to continue with the Goat Horn name, so he changed the name to Cauldron and then I joined on guitar. Cauldron is pretty much a continuation of Goat Horn, and every bit as serious.

-You’ve had problems in the past with drummers and it seems that this ‘curse’ has followed you guys into Cauldron as well. I mean, you’re on your fifth drummer in just six years! What are the reasons behind these constant changes on the drumming position?

Because they were all wimps! Actually it seems like a lot of our drummers have other priorities in life and never stick around. It’s difficult to commit to a lifestyle of touring and recording instead of getting a steady job. Or maybe Jason and I are just hard to get along with?

-The band is about to release its third album in just four years, with Tomorrow’s Lost coming out in next October. How do you keep putting out so much new songs in so little time? Are you ‘letting the spice flow’ and taking advantage of that while it lasts?

We’re always writing and working on new songs when we practice together. We’re definitely not rushing ourselves or forcing ourselves to come up with material. We just do what feels natural, and it felt natural to record another album when we did. We don’t feel like time’s running out so we better churn out as many albums as we can. We only want to release album’s we’re proud of, and we’re proud of Tomorrow’s Lost!

-What are your expectations for the release of Tomorrow’s Lost? Do you feel like it’s going to be well received? Do you feel as if it’s your best work so far or that it is just another step in your careers?

We’re hoping to tour more for this one than we did for Burning Fortune. I hope people like it, but more importantly, I like it and think it’s the best thing I’ve played on so far. I think the musicianship, production and songwriting is all a cut above our last album. I feel like we’ve improved as a band, which is a good feeling.

-This album is the first to not feature a lady figure on the cover and instead it presents a much darker image, almost as if it’s depicting a feeling of impending doom. Is this just related to the album’s title or is there any concept behind the album and cover art? Is it a sign of the hardships the world is facing nowadays?

We wanted to avoid having that chick look like she was our mascot or something. I really couldn’t imagine doing the same old thing again for the cover. In fact we wanted to have a painting for the last album but it never came together. The album cover doesn’t signify any one specific thing, but I think it relates to a lot of the lyrics on the album in some way. To me it represents everything falling apart around you and struggling to make it through to the other side to some resolution. It’s more about an inner struggle, not problems with the world. But it’s open to interpretation. Plus it’s a nice to look at!

-Can you tell us anything about your main writing influences? I notice a bit of influence from some big NWOBHM names like Angel Witch, Satan or Blind Fury; but who are actually the bands that made you want to play like you do? Who do you aspire to and where do you turn for inspiration?

We kind of pick up influence from a lot of places, I can’t really say there’s one specific band. Sure we love NWOBHM bands but I think we’re inspired more by US bands. The early Metal Massacre’s are a big influence on us. Jason and I are really into Savatage as well, Sirens is one of our favourite albums. But still I can’t say we turn to any bands for songwriting inspiration, riffs just kind of come from our subconscious. Still, before I write solos I always listen to Black Sabbath’s ‘Eternal Idol’ and ‘Headless Cross’. Tony Iommi’s playing on those albums was at a whole new level and I always want my solos to be like those!

-What are you plans for the near future? Now that you’ve completed a set of three albums in a few years do you feel like it is ideal to spend more time on the road and less on the studio? Or do you want to start writing another album as soon as possible?

Well we have quite a few Canadian shows coming up where we’ll playing a handful of new songs. As far as spending more time on the road or in the studio, it would be nice to really tour a lot for this one, but when the time feels right we’ll start bashing our new songs into shape for the next album. We’re also working on another European tour for the coming winter.

-Speaking of tours, you’ve passed recently by Portugal and played at Hard Club in the city of Porto. What was your general feel of the Portuguese crowd and of that specific venue, which is one of the best we have? Do you feel like returning here to present your new work?

I loved Porto, I thought it was an amazing city! The true Portuguese bangers were out that night, but I have a feeling a lot of people stayed home to nurse their Sunday hangovers. Also Midnight Priest had to cancel which was a bummer. Great venue though, hopefully we’ll be coming back this winter to do it right! Thanks!

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