Those are just a few of the most memorable synth-driven numbers on the album, and, as established, the composer is widely regarded as a synth wizard. If we’re looking at Anthology as both a retrospective and a reinterpretation, perhaps what the trio do with the Halloween theme is just make it scarier for our more frightening world 39 years later. Those few notes are still there and still set us up for the horror that Michael Myers will unleash. On Anthology, the modernization doesn’t strip away the meaning of the original. It changed the world of film and score composition, quite frankly. That minimal arrangement is nevertheless iconic and one of the best themes ever composed. As many know, it’s a simple, minor-key piano run and some haunting legato synth notes supported by a frenetic drum machine. The theme for Halloween is similar revisited. What we witness is a compelling new interpretation of an idea we’ve embraced for 41 years. It has the more present sound you get when seeing them live. The synth patches are newer and fatter, and the drum machine is more robust. However, they do change the nature of the tones. On Anthology, the trio don’t mess with the formula. You can feel the urban decay in every measure. That’s it but it unfurls an experience that is instantly rewarding. It’s a simple, fat synth riff backed with some colorful, one-note synth pads and a tight and polite drum machine. Howarth no doubt brings this sense of economy, too.)Ĭonsider the theme for Assault on Precinct 13 from 1976. (Carpenter frequently collaborated with Alan Howarth on several scores, some of which are mentioned in this review and many which aren’t. He has a preternatural ability to create powerful moments with very little tools. A Lifetime’s Worth of Important MusicĬarpenter’s synth work isn’t sophisticated like that of Vangelis, but what he lacks in technical skill he makes up for a hundredfold in musical storytelling and a comprehensive ability to tap into every aspect of the human spirit to evoke strong emotions. In revisiting his past, Carpenter and his family are able to further our understanding of his impact on the present. It’s with that in mind that I experience this release. Davies, too, is part of the modern movement, and one of his best songs is on The Rise of the Synths companion vinyl.) (I use it quite a bit, too, including in my interview with Cody in which I labelled him “a new kind of Carpenteresque.” Cody is himself a well-respected composer and songwriter. ![]() Read a review of a film score today, particularly a horror film score, and you’ll see the adjective “Carpenteresque” used frequently. His synths are all over everything and a good chunk of us couldn’t be happier. There are so many musicians on the landscape right now - especially film composers - who are influenced at least in part by his simple but profoundly effective approach to score composition. This release comes at an interesting time for Carpenter, who is more relevant than ever. On Anthology, they showcase their deft ability to maintain the late 1970s and 1980s vibes of the director’s iconic themes - and 1990s vibes of his lesser-known ones - while strengthening and emphasizing their impact in a modern context. The trio also is behind Carpenter’s recent filmless scores, Lost Themes and Lost Themes II. ![]() Joining Carpenter on this mission is son Cody and godson Daniel Davies, who both tour with him along with a backing band. However, this is not the case with John Carpenter’s latest release, Anthology: Movie Themes 1974-1998. The new release - in which the director and composer revisits his iconic movie themes and a couple that others created for his films - underscores the raw power his compositions extract from few notes, while showcasing the energy and spirit of his modern live shows. Late-career re-recordings of hits are often crimes against humanity.
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