Just a few scant years ago, the John Carpenter (in association with Alan Howarth) score for his film, Big Trouble in Little China, was a bargain bin closeout release. Fans of the composer/director’s work could easily snag the album still-sealed on vinyl for $3 from online clearance retailers. Now look at it: a luxe and … Continued





The music of the Halloween franchise is as iconic as that of any other series, and arguably the most impressive when listened to as a whole. Composed and performed by John Carpenter for the original 1978 film, then Carpenter and Alan Howarth Halloween II and Halloween III: Season of the Witch, and then Howarth alone … Continued


The Perfect John Carpenter LP at Modern Vinyl

Perfect LP is a feature in which the Modern Vinyl writers take on the tall task of summarizing an artist or band’s career in an LP sized selection of tracks. Bypassing what was the single, what was the “hit” and what fans call for throughout shows, it’s time to decide what makes up the Perfect LP.

The Rules

The selections will total no more than 50 minutes. The selections are arranged in logical fashion, as in how you’d like to hear them in a real tracklisting.

The Subject

John Carpenter, horror and sci-fi director, is known for iconic films such as Halloween, Escape From New York, and The Thing, but deserves as much credit as a composer and performer, primarily accompanying his visual work. After a lengthy hiatus in both films and music, he returned in 2015 with the release of full length Lost Themes on Sacred Bones. It was a collection of original music, ostensibly composed music for various things, but never used. It was followed up with the release of Lost Themes II earlier this year, as well as a sold-out international concert tour.
Listen to the LP and read my comments at Modern Vinyl. Published 9/19/16

Halloween horror marathon: The Fog

poster - the fogLet me get this out of the way: I like The Fog. I like most of John Carpenter's work. Carpenter has the unique ability to use wide shots to set the scene, and give everything this sense of place, and contrasts that openness with tight interior locations. The tightness of those interior shots -- or, in the case of The Fog, using the fog itself -- is all the more intense when the viewer's been made aware of the freedom right outside. Carpenter's score for any film is what ratchets up the tension to near-unbearable levels, and it's much the same here. The minimalistic tones of its keys and synths are offset by the upbeat jazz tones broadcast by the San Antonio Bay KAB radio station, much in the same way that the wide-open shots are offset by the tight, close-up interior shots. The Fog is just ... tense. It has more in common with Hammer horror than anything else, really. It's very much a ghost story, in the vein of the one that starts the film itself. Everything moves at slow speed, building up to a climax, with its occasional shocks and frights hidden in shadow, rather than presented in gory Technicolor. It builds up to a big reveal at the end, as one would expect, but the lead-up to it is slow and steady. And can we talk about Tom Atkins? I mean, all the posts this week are movies in which he features, but why didn't he ever become a bigger star? My guess is that, while a decent actor, and featuring some rugged, James Garner-style looks, he never really showed how charming and badass he could be until well towards the end of his career, with Night of the Creeps. The Fog's likely not a good showcase for his talents, because there's no real lead. Ostensibly, Atkins and Jamie Lee Curtis are the principles, but it could just as easily be Hal Holbrook as the priest, or Adrienne Barbeau as the KAB DJ. It's such an ensemble piece, and everyone's character is so broadly drawn, that nobody in the film ever has a real chance to outshine the others. [embed][/embed]

Cipro Dog

book-cover-dark-directionsUpon first flipping through Cipro Dog, Kendall R. Phillips' new book, Dark Directions: Romero, Craven, Carpenter, and the Modern Horror Film, I was worried that it was going to go down the same path as Shock Value, and attempt to cover too much ground in too short a space. Thankfully, 50mg Cipro Dog, such is not the case.

Dark Directions - while, at times, covering a similar era as that of Shock Value - is a totally different book. Phillips takes the work of three directors, susses out a particular thematic thrust from each, and uses that particular theme as a lens to focus his view of each man's work.

The particulars are what allows Dark Directions to succeed as it does, Cipro Dog. 1000mg Cipro Dog, Specifically, Phillips doesn't focus entirely on the "horror" output of each director. Recognizing that such a limited range would hamstring his work, the author brings similarly-themed "genre" pictures from the three filmmakers into his critcism, allowing for each argument to be made more fully.

they-live-alienWith John Carpenter's films (and, to a lesser extent, those of George Romero), the need to bring in a greater range of genre is most necessary, Cipro Dog uk. As Carpenter's films include action/adventure, sci-fi, and so forth, it's vital to include films such as Big Trouble In Little China in order to better comprehend the purpose of the drifter in They Live. Cipro Dog, As with most works that are directed more towards a scholarly audience, rather than mass appeal, there's a certain assumption that the reader is familiar with the works being covered. If the reader's not viewed the films directly, there's at least an assumed passing familiarity with each director's overall output. In essence, 10mg Cipro Dog, Dark Directions may lose the casual reader, but there are enough touchstones along the way that most film buffs will be able to follow along.

Phillips deserves serious kudos for his admission that every director might not fit specifically into each slot the author has prepared. While Carpenter might focus his directorial vision on the frontier, he certainly has elements of the Gothic in his work, if not to the extent that Wes Craven uses them. The explanation of each director's non-genre work is appreciated, as well.

Dark Directions makes good on its promise to place Carpenter, Cipro Dog mexico, Craven, and George Romero within the pantheon of important '70s filmmakers. Discussing the themes and storytelling abilities of each director, Phillips has a definitive case for their inclusion with the likes of Martin Scorcese in terms of influence.

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No Rx Erythromycin

poster-halloweenCan we talk about the opening to Halloween No Rx Erythromycin, . Is there a more classic start to a horror movie. It seems that all the great '70s genre pictures had their first ten minutes so tightly set up that they could stand on their own as short films. I'm talking the Exorcist, No Rx Erythromycin canada, the Omen, et cetera.

However, it's Halloween that is just especially masterful. It's shot so well: obscured views, veiled images, perspective shots...really, it's wonderful to behold, No Rx Erythromycin. They don't do the big reveal on Michael Myers until you're chomping at the bit to see him, 150mg No Rx Erythromycin, either. John Carpenter was spot-on with Halloween, making a movie that keeps you on the razor's edge the whole way through. No Rx Erythromycin australia, Why is it that all the teenagers in Halloween manage to sound like legit teens, too. Carpenter's dialogue sparkles with realism, rather than sounding wooden and hollow. Jamie Lee Curtis as Laurie Strode is spot-on in terms of youthful innocence and adolescent world-weariness, No Rx Erythromycin overseas, and the way every other teen character in the film is astounded at Laurie's good behavior just fit. The pacing is perfect -- really, I just can't recommend this film enough. 100mg No Rx Erythromycin, It's one of the few horror movies tv editing can't ruin, and I will watch it any time it's on, be it tv, DVD, or whatever.


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