- Available on limited black-and-white swirl and classic black vinyl versions
- The first solo album of non-soundtrack work by the legendary director/composer of Halloween, Assault on Precinct 13, Escape from New York and more
- Black-and-white swirl vinyl limited to 1000 copies worldwide
- Sacred Bones Records website experienced record traffic following initial announcement on Halloween 2014
- Artist-attended release parties planned in Los Angeles and at the Brooklyn Academy of Music
- Coverage confirmed by Rolling Stone, Newsweek, NPR, The Hollywood Reporter, Pitchfork, among other high-profile music and lifestyle outlets
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 Oldfield’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.”