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“Making music is far more intimate and less stressful than sitting on a film set, let me tell you!” laughs John Carpenter. A YouTube video of the opening track from Lost Themes II, ‘Distant Dream’, showcases the six-piece sounding eerily like a prog-rock band. Further in line with the film-music-world crossover theme, the two Carpenters and Davies will be accompanied for this tour by Tenacious D’s backing band, meaning that audiences will be treated to a genuine rock & roll line-up with drums, bass, two electric guitars, and the two Carpenters on synths. At the time of writing 30 dates were already scheduled, beginning in late May in the US and ending in November in Europe, taking in three UK dates in late October, in Manchester and London, with Carpenter appropriately headlining ‘Release The Bats’, All Tomorrow’s Parties’ Halloween extravaganza.
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One year on there’s the follow-up, Lost Themes II, as well as something even more essential to an aspiring rock star: a world tour. Made together with his son, Cody Carpenter, and Godson, Daniel Davies (the son of the Kinks’ Dave Davies), Lost Themes reintroduced Carpenter to the world of glowing reviews, with one critic noting that the album “evokes his past without rehashing it, delivering a complete and immensely satisfying portrait of his music along the way”. Like his film scores it is dominated by synth sounds and arpeggios and mixes spine-chilling moods with rock influences. His new direction became apparent in 2015, with the release of his first non-soundtrack album, Lost Themes. The last two movies Carpenter directed, Ghosts Of Mars (2001) and The Ward (2010), were both commercial and critical flops, which goes some way towards explaining the man’s latter-day career shift. Carpenter’s film scores, in a number of cases made together with composer Alan Howarth, have proved so outstanding that they have laid the seeds for an entire electronic music sub-genre, synthwave (also known as retrowave), which emerged in the mid-2000s, and also quotes Vangelis and Tangerine Dream as its influences.
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Most people will be familiar, with the high arpeggios, five-to-the-floor stomp and atmospheric four-note motif of the Halloween movie theme, to give just one example, where all the elements work perfectly together to conjure up a suitably spooky atmosphere. In Carpenter’s case, there is a twist, in that he’s a pioneer of using synthesizers, with his scores in many cases having become almost as famous as the movies themselves. And like Charlie Chaplin and Clint Eastwood, to name just two, Carpenter is famous for also scoring the music to many of his own movies. Carpenter has directed classic horror, action and sci-fi movies like Dark Star (1974), Halloween (1978), The Fog (1980), Escape From New York (1981), The Thing (1982), Big Trouble In Little China (1986), Prince Of Darkness (1987), Village Of The Damned (1995) and more. Legendary film director John Carpenter is breaking the mould in many respects here, enjoying a career change in his late ’60s to become a bona fide rock & roll star, with critical acclaim to boot. Steve Martin is accomplished at bluegrass banjo and Jack Black is active in Tenacious D, but the musical exploits of William Shatner, Gwyneth Paltrow, Bruce Willis and Eddy Murphy have all strained the boundaries of artistic credibility.
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Moves in the opposite direction, however, have often been less successful. David Bowie, Madonna, Sting, Alanis Morissette, Björk, Bob Dylan, Debbie Harry, Cher, Courtney Love and Tom Waits are just a few of the many stars who have tried acting, while David Byrne, Dylan, Madonna and Rob Zombie are among the musicians who have directed feature movies. The path from the music world to the film world is well trodden. John, his son Cody, and collaborators Alan Howarth and Daniel Davies explain how it’s all possible. John Carpenter is not only a cult movie-maker, but also a pioneering electronic composer. This shot was taken when the duo were working on their first project together, the soundtrack to Carpenter’s Escape From New York. John Carpenter (left) and Alan Howarth in Howarth’s Pi West Studio, 1980.