It’s John Carpenter; I’m going to like it, aren’t I? Well, yes, as a matter of fact. I’m a huge admirer of Carpenter’s work. I not only possess all of his films (some in two or more formats) but I also possess all of his soundtracks, and was lucky enough to see his live shows promoting his music on two separate visits to London (I have a Blu-ray of the first London show). With the score to Halloween 2018 he very much proved he still has the ‘feel’. The first Lost Themes album, released in 2015, came as a very pleasant surprise, with original film-like music and semi-regular hints of his film scores for the fans to detect and savour. Lost Themes II followed the next year. Maybe not quite as good but, nevertheless, another solid bunch of original non-movie tracks. Carpenter was very busy subsequently, touring the Lost Themes albums and getting together with his son Cody Carpenter and guitarist Daniel Davies to rerecord many of his classic big screen scores for 2017’s Anthology album – and then touring to promote that. So, it’s been a little bit of wait for his next project. But I’m happy to announce that the waiting is over. Lost Themes III: Alive After Death is released on Sacred Bones Records, and is available on Vinyl, CD, and for Download.

The title track has a high melody with low bass synth holding chords. This shows a diversity to Carpenter’s Electronica. A drum beat is dispensed with in favour of a basic throb. But then a melodic screaming guitar announces itself, along with traditional-sounding acoustic drums. A great opener. A slamming beat backs a low rumbling synth in 'Weeping Ghost'. Electric piano is introduced, with a high-pitched repeating ring. Electronic drums open-out the melody which is upbeat but with an underlying menace. This has motion; a sense of continual movement. 'Dripping Blood' has a somewhat mystical opening. Deep and heavy bass notes allow a synth to soar over the top, with a bell sound temporarily taking charge. This one is quite atmospheric. Moderate but meaningful. 'Dead Eyes' has a definite horror opening, with slightly off-kilter music and angelic voice samples. It changes quite drastically before returning to its almost creepy carnivalesque beginning. Guitar comes in at the end. 'Vampires Touch' has the deep throbbing reminiscent of some of Carpenter’s best film themes, commencing with a reflective piece. A rumbling beat is purposefully not followed by simple but striking melodies, which have a life of their own. Everything dies away for heavy synth single notes. A recognisable clattering beat is built upon as the track steadily stomps to a conclusion, with the addition of guitar. This is the most diverse offering so far, and a definite highlight.

A background beat for 'Cemetery' breaks through to an electronic repeating pulse beat. An intruding heavy thread has fast moving melodies surrounding the main theme. It pauses before taking up the chase again, and adding increasingly more sounds. 'Skeleton' is the ideal single, as its structure is the most straightforward, whilst remaining upbeat and at times threatening. You could drop this straight into almost any early Carpenter film and it would fit like a glove as a main theme. 'Turning the Bones' has a repeating melody which plays over a bass, before a plaintive experimental synth sound sears through the middle and becomes a slightly higher pitch. This hinges on a simple structure and works all the better for it. 'The Dead Walk' has fairground high jinks turn to a flickering beat and synth sounds which build to a throbbing, almost dance beat. Crunchy guitar takes up the stamping beat. A break for electric piano allows the whole thing to build again, and you begin to realise how much thought has gone into this. The trio have learned how to communicate without words, almost knowing what each other is thinking musically. 'The Dead Walk' is another definite highlight. A phenomenal track. We finish with 'Carpathian Darkness', in which a fuzzy background has electric piano play through it and welcome the unsubtle introduction of grating guitar. But on the whole this is a quieter and more reflective moment. Again, it fits the title subject matter perfectly, whilst not particularly sounding like a film score. This is nice atmospheric music.

I love this sort of stuff, and John Carpenter has a natural affinity for it. I’ll probably play this on a loop now until I temporarily tire of it. However, I never take much persuading to dig out another Carpenter soundtrack for yet another airing. I recently bought The Fog white and green colour vinyl double album. The bottom line is this album is superb. I wouldn’t expect any different. Long may the great man reign.

10

Ty Power