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Lost Themes IV: Noir
Itâs been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywoodâs great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director.
In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Greenâs trilogy of Halloween reboots. With Lost
Themes IV: Noir, theyâve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as âsoundtracks for the movies in your mind.â On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs ânoirishâ is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and
Davies work o1 a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.
The trioâs free-flowing chemistry means Lost Themes IV: Noir runs like a welloiled machineâthe 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from Johnâs own Christine. Itâs a chemistry thatâs helped power one of the most productive stretches of Johnâs creative life, and Noir proves that itâs nowhere near done yielding brilliant results.
In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Greenâs trilogy of Halloween reboots. With Lost
Themes IV: Noir, theyâve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as âsoundtracks for the movies in your mind.â On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs ânoirishâ is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and
Davies work o1 a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.
The trioâs free-flowing chemistry means Lost Themes IV: Noir runs like a welloiled machineâthe 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from Johnâs own Christine. Itâs a chemistry thatâs helped power one of the most productive stretches of Johnâs creative life, and Noir proves that itâs nowhere near done yielding brilliant results.
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Description
Itâs been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywoodâs great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director.
In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Greenâs trilogy of Halloween reboots. With Lost
Themes IV: Noir, theyâve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as âsoundtracks for the movies in your mind.â On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs ânoirishâ is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and
Davies work o1 a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.
The trioâs free-flowing chemistry means Lost Themes IV: Noir runs like a welloiled machineâthe 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from Johnâs own Christine. Itâs a chemistry thatâs helped power one of the most productive stretches of Johnâs creative life, and Noir proves that itâs nowhere near done yielding brilliant results.
In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Greenâs trilogy of Halloween reboots. With Lost
Themes IV: Noir, theyâve struck gold again, this time mining the rich history of the film noir genre for inspiration.
Since the first Lost Themes, John has referred to these compositions as âsoundtracks for the movies in your mind.â On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs ânoirishâ is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and
Davies work o1 a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.
The trioâs free-flowing chemistry means Lost Themes IV: Noir runs like a welloiled machineâthe 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from Johnâs own Christine. Itâs a chemistry thatâs helped power one of the most productive stretches of Johnâs creative life, and Noir proves that itâs nowhere near done yielding brilliant results.
