John Carpenter: Anthology II - Movie Themes 1976–1988
An album review of John Carpenter’s second set of recast movie score pieces. Synth heaven for horror nerds.
John Carpenter
Anthology II (Movie Themes 1976-1988)
Sacred Bones Records
Faced with a need for a new means of revenue, a new creative outlet, and a way of filling his time — since movie making no longer works, or perhaps even appeals to people like Carpenter — he formed a band with his son and godson and went on the road giving people the music from the films. This then was accented by a bunch of new music in the style of the old. To date there are three records of Lost Themes, none of them actual musical cues to John Carpenter films, but all of the pieces of music sounding like they could be.
In and around that, he released an “Anthology” - re-recordings of many of his classic pieces, performed in a style similar to what fans around the world were seeing on stage.
Now, we have this second volume which sticks entirely to the same knitting. The band giving us faithful versions of more of his classic film score cues.
There are some absolutely iconic pieces that it’s good to have — the record starting with Chariots of Pumpkins, from Halloween III. The third instalment in the film series is the orphaned child (I personally love it — but obviously acknowledge that it’s not really Halloween — released under just its subtitle as a standalone film it would be a cult-classic of 80s horror/sci-fi). Anyway, its score is the redeeming feature, and one of Carpenter’s finest albums. Chariots is the standout standalone piece from it too. So that’s a great way to start this second volume of Anthology.
And if that’s a great way to start, the iconic Laurie’ Theme from the original Halloween.
In between those books ends it’s even more of a synth-fest than usual (69th Bridge Street from Escape From New York, Wake Up from They Live, Love at A Distance from Prince of Darkness). There are some really iconic moments here too, this is no seconds-set filled with also-fans.
Carpenter alone at the keys is often a glorious thing — as is the case here with Julie’s Dead from Assault on Precinct 13. To me, this rivals any of the fine piano/keys work on the original Halloween score. And, back to Halloween III, the brooding synth-chug of Season of the Witch is nearly as iconic as Chariots or any of the Halloween II score for that matter.
Speaking of which, The Shape Stalks Again is fun to have here.
Add in some great pieces from The Thing (Burn It, Fuchs, To Macs Shack) and The Fog (Walk To The Lighthouse) and you have a far more synth-y experience than the first anthology. This is less for the stadium crowds, and more for the soundtrack devotees. A really nice way to collect up some of the key (pardon the pun) pieces from one of the great, modern film composers (and filmmakers).
