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John Carpenter – Anthology: Movie Themes 1974-1998

Sacred Bones

John Carpenter - AnthologyI’ve just spent a few days driving down the south coast of England and then around the Devon countryside, listening to John Carpenter’s Anthology all the way. And the first thing to say about it is, it works. Overlaid on any landscape you’d care to imagine – a traffic-jammed motorway, a small-town suburb, a swooping coastal road, a mist-sodden moor, a little high-tide cove – it creates a very precise atmosphere of unease, of impending darkness, of collapse.

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John Carpenter – Lost Themes

Sacred Bones

John Carpenter - Lost ThemesJohn Carpenter has had quite a career. After writing, directing and scoring some of the greatest horror films of the ’80s, he has since somewhat fallen off the metaphorical wagon, mustering a less than congenial reception to the majority of his output of the last two decades. The exception to this rule however, is his soundtrack work, from which a whole new generation of composers have drawn influence over the last few years — so much so that the mere mention of the man’s surname in a album’s review summons a very clear, very specific image of what an act may sound like. Confronted with such a climate, you would have to have a very poor imagination to not have anticipated the eventual release of Lost Themes, his debut non-soundtrack work, and to not have similarly

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Zombie Zombie – Play John Carpenter

Versatile

Zombie Zombie Plays John CarpenterGiven a penchant for vintage analogue synthesis, Goblin and motorik drumming, and having named themselves after a Sinclair ZX Spectrum computer game, it is not only appropriate, but almost de rigueur, that Zombie Zombie should find themselves tackling the oeuvre of a key progenitor of electronic cinema soundtracks. John Carpenter‘s themes and incidental music for the groundbreaking low-budget and high-thrills genre movies was pioneering, and hugely influential on a generation of teenagers who probably came into contact with the form for the first time within the sparse soundscapes of the sort he composed to accompany his own distinct brand of muscular action, SF and horror films.

Certainly as far as the mainstream of US horror and science fiction films went in the late seventies and eighties, no-one was really foregrounding synth pulsations

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