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Period Piece by Jenny Hval from the 2016 Adult Swim Singles compilation

Originally on the album Blood Bitch

John Carpenter will release his fourth solo album, Lost Themes IV: Noir, on May 3 via Sacred Bones Records. The filmmaker/composer is, as always, accompanied by son Cody Carpenter on synthesizer and godson Daniel Davies on guitar.

The album is available to pre-order on vinyl in several colorways, each of which features a foil stamped jacket and comes with a 24x36 fold-out poster (pictured below):

Black ($20)

Red ($24)

Indie exclusive tan and black marble with bonus 7"

Sacred Bones exclusive red on clear splatter with bonus 7" ($30, limited to 1,000)

Rough Trade exclusive oxblood red and black splatter with bonus 7" ($33, limited to 300)

Shout Factory exclusive black and clear cloudy with bonus 7" ($32, limited to 500)

The album is also available on CD ($14) and cassette ($12). Watch the music video for a new song titled "My Name Is Death" below, where you can also read the press release.

It’s 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 Hollywood’s 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 Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve 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 “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” 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 off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.” The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results. “This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.” And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.”

Gewgawly I & Thou - NORCO Original Soundtrack | Sacred Bones Records | 2022 | Red Opaque

SEXTILE ft. IZZY GLAUDINI CRASH | PUSH, SEPT 2023

2/16/24.

Caleb Landry Jones' musical career has been consistent. It's influenced by The Beatles, Syd Barrett and The Flaming Lips. Jones' work really has been the perfect distillation of these three influences.

Sacred Bones Records has announced the 2024 release of Jones' 4th LP, "Hey Gary, Hey Dawn". "Corn Mine" is the only song currently available. All of Jones' previous albums have great songs, and weirder psych moments. I'm not sure how much "Hey Gary, Hey Dawn" will depart from this formula. But, I've always found each record a rewarding experience.

We're all out of catastrophes

And night would never end

In your sleep you called me Natalie

It was the nicest thing you said

We're all out of catastrophes

I just stayed in bed

You said I live for tragedy

So I threw the keys at your head

It began to follow me

So I found that old motel

I've been planning escape strategies

So I knew the way there well

I know I'm going to hell

I know I'm going to hell

Ooh, all out of catastrophes

All out of catastrophes

All out of catastrophes

All out of catastrophes

Maria BC — Spike Field (Sacred Bones)

A spike field is an attempt to communicate across time and language: an assemblage of granite “thorns” laid out across a nuclear waste site to denote its uninhabitability. Such a vivid image of desolation also speaks to our attempts to protect future generations from the mistakes of the past. How do we move forward when our predecessors have caused such devastation? It’s a fittingly bleak image and basis for reflection prior to hearing Maria BC’s new album, their first for New York label Sacred Bones.

Over the course of Spike Field’s 50 minutes, the songs’ prevalent mood can prove hypnotic if you’re receptive to its atmosphere. MBC is certainly adept at conjuring and sustaining a melancholy, nocturnal scene. The insistently strummed or plucked acoustic guitar figures, close mic’d and drenched in reverb, suggest the music may be building towards a climax, but the songs rarely offer the cathartic release of a crescendo, more often than not shimmering and fading into a shadowy afterglow. The main exception is the album’s potent opening one-two of “Amber” and “Watcher.” On the former, glitchy and distorted swells dapple the song’s central guitar arpeggios, while the latter features the album’s most exultant moment, as ascending harmonized voices strive towards transcendence from the gloom.

The discordance of the guitars on “Tied” suggests the atmospherics of Sonic Youth at their most eerie and subdued, while the fragments of lyrics that rise up out of the murk, such as “with blistered hands,” present images that are left to hang uncomfortably. This approach is most memorable on “Amber,” as the line “Your scent is on me now” is repeated, yet it’s unclear if MBC is luxuriating in or repelled by the prospect. “Haruspex” introduces some more variety to the arrangements with its prominent shuffling drums, while the instrumental title track traces out its desolate theme on wavering piano.

Overall, Spike Field’s closest recent cousin is probably last year’s Skullcrusher album, Quiet the Room. While Helen Ballentine’s debut felt intimate and haunted, Maria BC conjures a more dread-filled atmosphere, in which moments of beauty are barely able to banish the persistent shadows.

Tim Clarke

You're my buddy, you're my pal

A couple more for the road. A long overdue nod to the great Bruit Direct Disques, and Khanate's massive return to a world that befits their sound. Without further adieu:

Khanate, To Be Cruel (Sacred Bones)

After a double-digit years-long hiatus, Khanate orchestrated a surprise return to follow up Clean Hands Go Foul with To Be Cruel. I can't say I've listened to much Khanate in the interim, but To Be Cruel makes a strong case for revisiting the band's discography. Given the members' forays into other projects, I was expecting the sound to shift dramatically here, but that was incorrect: the band has doubled down on its glacial pace, heaving guitars and Alan Dubin's backed-into-a-corner vocals, at once human and feral. What's changed is only a greater attention to composition, allowing for some breaks in the drudgery to incorporate ideas from free jazz and improvisation. About two-thirds of the way through opener "Like a Poisoned Dog," the song is overwhelmed by feedback, the drums let loose and the bass holds the line; it's a brief, but thrilling moment, a break in the stark black atmosphere. Much of that atmosphere is owing to Stephen O'Malley's guitar and Alan Dubin's vocals, though I was glad to read an interview with James Plotkin where he agrees that some of the lyrics Dubin screams are patently absurd. That being said, the broader ideas behind the lyrics, coupled with their deadly serious delivery, induce chills throughout. Control is ceded to Dubin on the spare "It Wants to Fly," but his strongest performance is saved for the title track at the end. "To Be Cruel" is vintage Khanate, O'Malley and Plotkin squeezing every ounce from their chords, Tim Wyskida hammering the drums to punctuate each painfully slow movement. Rather than find release, the band chooses to return to the same structure at the beginning of the song, now teasing feedback out between strikes, slowly burying Dubin alive. To Be Cruel is the band's best work, as room-flattening, caustic and focused as ever, enough for me to consider making a trip if they tour behind it.

Nusidm, The Last Temptation of Thrill (Bruit Direct Disques)

Ah, Glen Schenau's inimitable Nusidm returns on one of my favorite labels, Bruit Direct Disques. We must enjoy these moments of kismet, no? The Last Temptation of Thrill fleshes out a refined version of Nusidm found on Hatred of Pain: less vocals, less crowded, and reimagining the dirge as something miasmatic and smothering. Largely gone are the clean, tromolo-picked guitars, but the drums carry the weight, something made perfectly clear on "Katy und Abel" and the beginning of the fully dystopian "Run to the Shops." There seems to be a lot more electronic layering in these tracks, songs built up not by clenched muscles but by feedback, pitch-shifted vocals, pedals and maybe even tape loops. This approach makes "Sit and Watch the Sunrise" come across as a threat, and reaches a logical, thrilling endpoint on "Arm Unemployed" and "Melody Moody - The Re-incision." The slow build of noise in the latter cancels out the jazzy bass line reprised from Hatred of Pain's "Vapid" and covers itself in thick mud, vocals escaping through the air vent and desperate for a response. The record builds up in fits and starts, interspersed with instrumental tracks, the best of which are on the B-side: "Tagging My Friends" brings back the frantic clenched-teeth acoustic playing, and "Talking to Animals" is all feedback and woodwind shrieking, taken home by the downtuned bass. The album's elements coalesce on the chaotic "Arm Unemployed," previously released but finding its home as the penultimate track here, which kinda sounds like Glen's take on rap-metal, if they ever made room for a xylophone solo. It must be heard to be believed, but you'll be nodding along for its five-and-a-half minute duration. The Last Temptation of Thrill is Nusidm as confounding as ever, but as potent as ever, too; the artist-label pairing here greater than the sum of its parts. Three hundo copies to go around, and sharply outfitted in Glen's own artwork and font to further confuse the issue. Come join me on his planet.

Terrine, Standing Abs (Bruit Direct Disques)

Terrine's last album Les Problèmes Urbains was described in the press release as "certainly one of the most demanding (comical) in the world." I'm unsure if my familiarity with the work of Claire Gapenne as Terrine is such that I understand her intentions more clearly, or if I've just accepted being wholly outside the joke. Whatever the case, her latest album Standing Abs is checking all the boxes for me. It opens with "She's So Kind De Ouf," full of harsh electronics and rhythms popping up and disappearing, all of the different elements building to a blaring climax. If you know Terrine, you know that these moments are fleeting, and the song is shortly followed up with acoustic piano and what sounds like a beat made by basketballs. The piano has been a strong part of Terrine's sound, but now it is woven into the album's fabric rather than included solely as a jarring shift in instrumentation. The rest of the album is a really interesting push-pull between modern electronic composition, with a nod to EDM, and these shorter pieces featuring spare, empty-room piano. It's hard not to think of ZNR's Barricade 3 when confronted with the dichotomy of electronic and acoustic sounds, presented to emphasize their contrast; but I will also echo Matt K.'s comparison to Lolina in his review of the album. Like Lolina's best work, there is a logic here, albeit coy and evasive, that still captivates. The stretch of songs from "Carrageenan Do Dad Jokes" through "Nuage De Nuls" features some of the same elements, but it's as if the beats and piano merge, split, or disappear altogether throughout. Far from being a purely academic exercise, there's plenty that just knocks here, too: "Les Moucherons à Oranges" sounds like the rhythm is being played on the piano strings, a kick drum coming in to intermittently stabilize the situation. "La Nimpro" unceremoniously kicks you out of the loft at the album's end, and the cycle is complete. It's a blast, shedding any sense of sabotage (hello, "L'anniversaire") and stepping confidently into their Sambas.

Intro. 00:00 Hanna Lindgren-Imagine Sleep 00:55

Binaural Space-End Good All OK 03:12

David Cordero, Rhucle-Beyond the Horizon 03:58

Chapter 1 08:22

Jay Chakravorty-Maps 11:02

Rachel Palmer-Accretion 14:47

MLO-Birds & Flutes 19:13

Jonathan Fitoussi-Edream, Pt. 4 23:59

Mort Garson-Cathedral of Pleasure 25:43

The Central Office of Information-Windows Over Warminster 31:40

Chapter 2 34:33

Mark Ellery Griffiths-Lakeside Picnic 1966 36:12

Warrington-Runcorn New Town Development Plan-Busway 37:41

Moskva-Kassiopeya-Utopia - Part II 40:44

Time Rival-Activate 42:56

King Gizzard & The Lizard Wizard - Dreams - Yu Su Instrumental Mix 45:23

Panama Fleets-Polynesian Drift 50:23

Chapter 3 53:26

MiDi BiTCH-Take You Away 55:07

Helios-A Familiar Place 1:00:19

Kosmischer Läufer-Morgenröte 1:03:59

Xuxurlatu-Maitagarria 1:13:31

Future Children-Unplug the Medicine 1:15:40

Fabio Borgazzi-Nenia nenia 1:19:39

Chapter 4 1:21:38

Polypores-Angel Spawn 1:23:14

Nacht Plank & Futuregrapher-Music For Kettle-SigEnt Mix 1:27:16

Bryan Rohmer-Thirty-Five 1:31:24

Fulgeance-Leaving 1:33:56

Rickard Jäverling-Introduction 1:36:10

Felipe Ayres-Fantasma 1:40:13

Chapter 5 1:44:57

Warm Binary-Yin Yea 1:46:39

Shuta Yasukochi-Ripples 1:48:46

Outro 1:52:55

#music #PLAYLIST featuring #NowPlaying #80s #postpunk to #postpunk2k...#goth #hardtosearch #russian #sovietwave @molchatdomaband @Killingjokeband @editorsofficial @thecure @thegardentwins #joydivision 

Album art for:

Pharmakon - Devour (Sacred Bones, 2019) vinyl

John Carpenter has released "He Walks By Night," the second single from Lost Themes IV: Noir. The influential filmmaker/composer's new album will be released on May 3 via Sacred Bones Records.

Carpenter is accompanied by son Cody Carpenter on synthesizer and godson Daniel Davies on guitar. Listen to the first single, "My Name Is Death," here.

Sacred Bones and Dais Records are currently locked in a custody battle for the soundtrack.

UNIFORM & THE BODY // PENANCE [EVERYTHING THAT DIES SOMEDAY COMES BACK, 2019]

My Sacred Bones Halloween Ends soundtrack came today! It’s gorgeous!!

[Video ID: a pair of hands unboxing the Sacred Bones Halloween Ends OST exclusive art edition with “blood twister” vinyl. The hands open the shipping box and remove the shrink wrap from the record before showing off each element. The outer sleeve has red and black images of Michael Myers on the front and back, the inner sleeve has a black and red image of Michael on the front and the track list on the back. The vinyl itself is black, red, and white with a sepia toned image of Corey Cunningham on the center label. There’s also a large folded poster of a red and black image of Michael. End ID]