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‘Eraserhead’ Deluxe Soundtrack Available Today

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This one slipped by me until earlier today, so I wanted to share it right away. Sacred Bones Records has released a deluxe edition of the soundtrack to David Lynch’s 1977 bizarre body horror film Eraserhead. While the vinyl edition is sold out, you can still order the CD, which comes with a 16 page booklet and a double sided poster in a gatefold CD sleeve, or snag a digital copy via iTunes. Orders can be taken here.

The label writes:

David Lynch’s Eraserhead rests firmly at the top of that canon of American underground culture for which there is no genre. A staple of the dark underbelly of popular cinema that was originally only viewable at arthouse screenings or on the Midnight Movie circuit, Eraserhead is a truly unadulterated offering; and much of its sensation lies beyond the purely visual realm. The stark, dusty black and white images put forth are caked with and submerged in a dense jungle of industrial hums, buzzes, screeches and screams. Eraserhead is a narrative made up of two intertwined veins: one of bleak and beautiful pictures elegantly painted in gray and black; and one of blankets of sublime, enveloping noise and static, the tinkering of Fats Waller organ rolls echoing in the background.

To lay in the dark and listen to this dizzying succession of blissful noise is a different way to get “lost” in the vast space of then the visuals of the film itself. It’s no stretch to consider this soundtrack an experimental, early industrial masterpiece. Eraserhead’s individual passion and personal tone shines through even in the thickest moments of fierce static, an audio undertaking that took Lynch and sound designer Alan Splet years to perfect. Though Eraserhead’s most famous piece of music is undoubtedly Peter Ivers’ unforgettable, oft-covered haunting ballad “In Heaven,” and the most exciting attribute of this edition of the soundtrack is no doubt its expansion; during the process of transferring the audio tapes, an unreleased recording from Ivers was discovered. It had not been heard since it was originally performed, over three decades ago. After working for years to expose and foster the dark, brooding sounds that exist in the current underground, nothing could make us more proud than to share with our audience this, a new look at one of our most cherished influences; the soundtrack to David Lynch’s Eraserhead.

Head below to listen to the film’s haunting version of “In Heaven”, which has since became an oft-covered track by many bands.

Managing editor/music guy/social media fella of Bloody-Disgusting

Music

‘Lost Themes IV: Noir’ – John Carpenter Announces New Album & Releases New Music Video!

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Lost Themes IV
(l-r) Cody Carpenter, John Carpenter, Daniel Davies - Photo Credit: Sophie Gransard

John Carpenter has been teasing big news for a couple weeks now and all has been revealed this morning. Carpenter is back with Lost Themes IV: Noir from Sacred Bones Records!

Lost Themes IV: Noir is the latest installment in a series that sees Carpenter releasing new music for John Carpenter movies that don’t actually exist. The first Lost Themes was released in 2015, followed by Lost Themes II in 2016 and Lost Themes III: Alive After Death in 2021.

John Carpenter called the first Lost Themes album “a soundtrack for the movies in your mind.”

From John Carpenter, Cody Carpenter and Daniel Davies, Lost Themes IV: Noir is set for release on May 3 via Sacred Bones Records. The album pays tribute to Noir cinema!

In conjunction with the announcement, they’ve shared a music video for the album’s first single, “My Name Is Death”, a miniature noir film directed by Ambar Navarro, starring Natalie Mering (Weyes Blood), Staz Lindes (The Paranoyds) and Misha Lindes (SadGirl). “Noir is a uniquely American genre born in post-war cinema,” states Carpenter. “ We grew up loving Noir and were influenced by it for this new album. The video celebrates this style and our new song, My Name is Death.”

Sacred Bones previews, “The scene-setting new single marks new territory for Carpenter and his cohorts, propelled by a driving post-punk bassline that is embellished by washes of atmospheric synth, pulsing drum machine, and, at the song’s climax, a smoldering guitar solo.”

“Sandy [King, John’s wife and producer] had given John a book for Christmas, of pictures from noir films, all stills from that era,” Davies says of the lightbulb moment for Lost Themes IV. “I was looking through it, and I thought, ‘I like that imagery, and what those titles make me think of. What if we loosely based it around that? What if the titles were of some of John’s favorite noir films?’ Some of the music is heavy guitar riffs, which is not in old noir films. But somehow, it’s connected in an emotional way.”

Sacred Bones notes, “Like the film genre they were influenced by, what makes the songs on Lost Themes IV ‘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.”

“It’s been a decade since John Carpenter recorded the material that became the initial Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts,” the label explains. “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. It helped that they grew up in a musical environment. Daniel’s dad is The Kinks’ Dave Davies, and he would pop by the L.A. studio – the same one the Lost Themes records are made in today – to jam, or to perform at wrap parties for John’s films. That innate free-flowing chemistry helps Lost Themes IV: Noir run 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.”

Here’s the full Lost Themes IV: Noir track list:

1. My Name is Death
2. Machine Fear
3. Last Rites
4. The Burning Door
5. He Walks By Night
6. Beyond The Gallows
7. Kiss The Blood Off My Fingers
8. Guillotine
9. The Demon’s Shadow
10. Shadows Have A Thousand Eyes

The following physical variants will be available:

  • Sacred Bones Exclusive Red on Clear Splatter vinyl w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.
  • Sacred Bones Society Exclusive on Black and White Splatter on Clear w/ Screen Printed 7” bonus track “Black Cathedral”, a Silver Foil Stamped Jacket and poster.
  • All retail Transparent Red, with a Gold Foil Stamped Jacket and poster.
  • Indie Exclusive Tan and Black Marble, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Rough Trade Exclusive Oxblood Red and Black Splatter, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Shout Exclusive Black and Clear cloudy, w/ Screen Printed 7” bonus track “Black Cathedral”, a Gold Foil Stamped Jacket and poster.
  • Black LP, with a Gold Foil Stamped Jacket and poster.
  • CD
  • Tape

You can pre-save Lost Themes IV: Noir right now!

Lost Themes IV Noir

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