Lost Themes

The album is relentlessly cinematic, almost oppressively so, which makes listening to Lost Themes from start to finish a bizarrely visual experience; whereas a great deal of electronic music is remarkably open to interpretation.

As he leaps from one thrill to the next, he evokes his past without rehashing it, delivering a complete and immensely satisfying portrait of his music along the way.

It's a brand new soundtrack that doesn't require a film. Carpenter knows exactly how to appease his fans, and with Lost Themes, he has given them just what they want.

Lost Themes is plenty dark and heavy but shorter on inspiration.

Carpenter’s limited instrumentation starts as a strength--these Lost Themes could stand with any of his horror soundscapes, as you can imagine a potential victim running through a dark forest, being chased by an unknown enemy, or haunted by a ghost that’s slightly out of frame but definitely in earshot. The sheer predictability of the formula, similar to much of the horror output, doesn’t stop the jump-scares.

It's an enjoyable, occasionally frustrating ride, and one that takes a few listens to sink in, even if its just to unburden yourself of your expectations.

Lost Themes is a quality milestone, perhaps even a step toward getting more Carpenter in at least one medium.

The power of Carpenter’s best soundtrack work, the title themes to Halloween and Assault on Precinct 13, comes from their relentless, single-minded drive. But when this approach is stretched to full, eight minute tracks as it is on Lost Themes, it can wear thin. This being said, there’s still some fun to be had on Lost Themes.

These immersive, synth-driven compositions may never match the brooding atmosphere of the filmmaker's early scores like Halloween and Assault On Precinct 13, but still have much to commend. [Mar 2015, p.73]

While Lost Themes may ultimately be slight compared to the filmmaker's finest soundtrack work, it's certainly a welcome new footnote in the Carpenter legend.