John Carpenter’s first album of original instrumental music, Lost Themes, is available as of today, courtesy of Sacred Bones Records. You can purchase it now over at Sacred Bones’s website, or through iTunes. In case you need a sample first, you can cue up the tracks “Vortex” or “Night” below! Pretty positive that taste is more than enough to get any self-respecting film fan to shell out a few bucks.


Also, keep in mind, those on the East Coast, that the epic retrospective of John Carpenter’s directing work kicks off today at BAM in Brooklyn!

Click on this sentence for more information on that series.




About the project, from the website and from JC himself:


John Carpenter has been responsible for much of the horror genre’s most striking soundtrack work in the fifteen movies he’s both directed and scored. The themes can instantly flood his fans’ musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kung fu fighters, or a mirror holding the gateway to hell. The all-new music on Lost Themes asks Carpenter’s acolytes to visualize their own nightmares.

Lost Themes was all about having fun,” Carpenter says. “It can be both great and bad to score over images, which is what I’m used to. Here there were no pressures. No actors asking me what they’re supposed to do. No crew waiting. No cutting room to go to. No release pending. It’s just fun. And I couldn’t have a better set-up at my house, where I depended on (collaborators) Cody (Carpenter, of the band Ludrium) and Daniel (Davies, who wrote the songs for I, FRANKENSTEIN) to bring me ideas as we began improvising. The plan was to make my music more complete and fuller, because we had unlimited tracks. I wasn’t dealing with just analogue anymore. It’s a brand new world. And there was nothing in any of our heads when we started other than to make it moody.”

As is Carpenter’s style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter’s past works, as well as ancestors like Mike Oldfeld’s Tubular Bells and Goblin’s SUSPIRIA.

“They’re little moments of score from movies made in our imaginations,” Carpenter says.“Now I hope it inspires people to create films that could be scored with this music.”


Lost Themes



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