Music
Pelican Announce New EP: Release Track With Vocals!
Chicago post-rock band
The cool thing here is that one of these remixes features vocals courtesy of The Life And Times‘ Allen Epley, who also contributed vocals on “Final Breath”, which comes from the band’s 2009 album What We All Come To Need, making him the only vocalist in the band’s history.
For the two remixes, one was done by Godflesh‘s Justin Broadrick and the other done by Aaron Harris and Bryant Clifford Meyer, both from Palms/ex-Isis. Both of these remixes are, “…fresh takes of the source material, feeling less like remixes than new compositions reworked from the original source.”
Finally, “The Wait” is being described as, “…a contemplative semi-acoustic simmer that builds to an explosion of cathartic distortion and melody in true Pelican fashion.”
It’s a new day, and you’ve got new John Carpenter to listen to. John Carpenter, Daniel Davies and Cody Carpenter have released the new track He Walks By Night this morning, the second single off their upcoming album Lost Themes IV: Noir, out May 3 on 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.
Sacred Bones previews, “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. 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 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.”
You can pre-save Lost Themes IV: Noir right now! And listen to the new track below…
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