John Carpenter - Lost Themes - 2015 Electronic Synth Rock Soundtrack - Ltd. Neon Yellow Vinyl - Sealed LP

John Carpenter's - Lost Themes

Comes with linernote insert and download code.
Country: US
Released: Jan 2015
Genre: Electronic
Style: Soundtrack, Ambient

Tracklist

A1 Vortex 4:45
A2 Obsidian 8:24
A3 Fallen 4:45
A4 Domain 6:34


B1 Mystery 4:36
B2 Abyss 6:07
B3 Wraith 4:30
B4 Purgatory 4:39
B5 Night 3:38

Companies etc

Mastered At – Precise Mastering
Lacquer Cut At – Precise Mastering
Copyright (c) – Sacred Bones Records
Phonographic Copyright (p) – Rodeo Suplex Music

Credits

Composed By – Cody Carpenter, Daniel Davies, John Carpenter
Design – Jay Shaw
Engineer – Cody Carpenter, Daniel Davies , John Carpenter
Performer – Cody Carpenter, Daniel Davies, John Carpenter
Photography By – Kyle Cassidy

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.


The popularity of 80s-infused, electronic film scores has been steadily increasing in recent years, due in part to the resurgence of the vinyl format and the successful analog-driven soundtracks of films such as Drive (2011) and Maniac (2012). These influences can be traced back to the vintage electronic scores of iconic director and film composer John Carpenter. Following in the footsteps of fellow auteur David Lynch (who surprised everyone with two albums in 2011 and 2013 respectively), Carpenter has returned to music with his first proper solo release, Lost Themes.

Carpenter’s film scores range from stark, minimal analog electronic sequences (Halloween and Halloween III) to synth-rock swagger (Big Trouble in Little China, Coup De Villes). Both sides are represented very well on Lost Themes.

Consisting of nine tracks bearing ominous titles, all of Carpenter’s trademarks are on display: Threatening piano chords, rock guitar-lines, and the ever-present, pulsating electronic bass. The record kicks off with the stomping synth-rock of 'Vortex', which has a feel not too dissimilar from the score for Escape From New York. Tasteful but minimal percussion make this a track you can move to.

'Obsidian' contains brooding piano and guitar interplay before morphing into a playful organ riff. 'Fallen' opens with melancholy strings and percolating analog squelches before darkening to a sinister crescendo.

'Domain' and 'Mystery' find Carpenter flirting with Goblin-esque Italian prog-rock and are choc-full of funky synth and guitar leads which recall the theme to Dario Argento’s Suspiria (1977). 'Abyss' is straight out of an 80s slasher film with its moody, staccato synthesizer motif and punchy synth bass.

The record becomes increasingly cinematic on 'Wraith' and 'Purgatory', which shift between baroque, jazz, and electronic. Carpenter returns to his trademark throbbing synth-bass and horror-inflected strings a final time on 'Night', ending the record with the same chilling atmosphere as Halloween and The Thing.

What makes Lost Themes so cool is that it delivers on the concept of sounding like genuine cues from films that were never made, while still giving stylistic nods to Carpenter’s past work which genre fans will truly gush over. The digital release comes with six remixes, the most notable of which contains a vocal version of 'Night' featuring goth pop queen Zola Jesus and 'Wraith' featuring industrial legend Nivek Ogre of Skinny Puppy. Lost Themes is an engaging experience not to be missed.

Opening with "Vortex", you immediately feel as though Christine is chasing you down, yet the track takes aim at your senses and does well to carry you away into a completely different world away from the classic 1983 film.

"Obsidian" is very much reminiscent of In The Mouth of Madness, "Fallen" much like The Fog and "Mystery" maintains a Prince of Darkness tone. But I'm going to dispense with the comparisons of Carpenter's classic soundtracks.