JOHN CARPENTER
There’s long been a strong connection between iconic horror movie directors and composers of progressively slanted music. The collaborations of dario argento and Goblin, and of lucio Fulci and Fabio Frizzi, immediately come to mind. But John Carpenter is unique in this regard, because he fulfils both creative roles. not only is he one of the most acclaimed horror auteurs of all time, but he is also an accomplished musician, responsible for many of the soundtracks that are so crucial to his films.
Tonight, he shows off his skills behind the keyboards, and it is a triumph. if he had wanted to, Carpenter could certainly have carved out a successful career in music alone. He and his impressive band – including son and longtime soundtrack partner Cody, plus lead guitarist daniel davies, whose father is dave davies of
The Kinks – play in what is effectively a box-style stage set. There are screens flanking the musicians on both sides, as well as above and behind them.
These show clips from Carpenter’s films while the main themes are being performed. The clips have been cleverly edited, effectively recounting the entire plots of the films.
Musically, Carpenter occasionally nudges into Jean-Michel Jarre and Mike Oldfield territory, but he clearly has his own style, one that effectively enhances rather than merely accompanies the scenes on screen.
The diverse crowd tonight – horror devotees, progressive music fans and even Vincent Cavanagh from anathema – are held enthralled and delighted as the unmistakable images and themes from escape From new York and assault On Precinct 13 open the night. These are followed by Village Of The damned and The Fog, which in particular gets a massive reception. Of course, it helps the mood that we are seeing some fine film footage, but even without this device, Carpenter would still enthral everyone with his confident musical tapestries.
There are also moments of humour in the set tonight – for instance, when the entire band don shades during They live (though you have to know the movie to get the reference). Carpenter talks sparingly, but does explain that Vortex and Mystery are “lost themes”, passages of music for films that have only ever been imagined in his mind. it undeniably shows his innate ability to be able to compose music without images to work with.
There’s a huge roar when the theme for the new Halloween film segues into the classic one for the original dating back 40 years. But oddly, the biggest reaction of the night comes not for this, nor The Thing, but Prince Of darkness. This really resonates with everyone, before final piece Christine closes one of the best gigs of 2018. This man is imaginative and pushes boundaries. Truly progressive.