lthough he's best known as a horror and science fiction filmmaker, John
Carpenter is also a skilled musician. In fact, more often than not, he
personally generates the melodies that accompany his productions. His 1981
movie Escape from New York was no exception. A new "expanded" album
devoted to the adventure's sparse score has recently been issued, offering
contemporary listeners an opportunity to revisit these threadbare yet
thrilling themes.
Composed and performed by Carpenter and sound designer Alan Howarth, the
recording--which showcases remastered versions of the original cues--opens
with "Main Title," a dark, meager number that perfectly captures the film's
dystopian setting. Ominous, plangent notes undulate through cuts such as
"Orientation," "Police Action" and "Over the Wall," while tracks like
"Arrival
at the Library" and "69th Street Bridge" effectively encapsulate the tense,
edgy atmosphere of 1997 Manhattan, which in the story has been converted
into
a maximum-security prison. "Everyone's Coming to New York" presents the
picture's sole vocal work, with a chorus of inmates singing the dubious
praises of the Big Apple.
Among the 20 tunes there are also six previously unreleased themes,
including the somber "He's Still Alive/Romero" and "Across the Roof," plus a
pair of compositions--"The Bank Robbery" and "Snake Shake: End
Credits"--that weren't used in the film. Interspersed between the musical
numbers are eight selections spotlighting key dialogue sequences from the
movie. The liner notes provide a brief plot synopsis, along with an
informative tract from Howarth outlining both the process used to initially
create the melodies and the high-tech, computerized procedure employed to
remix and revitalize the cues for this release.
A first look at New York's finest
In 1978, Carpenter's classic horror flick Halloween intermingled
on-screen terror with simple, synthesized sounds. Escape from New
York
builds upon that innovative approach, interjecting a variety of melodic
moods
and textures to augment the picture's complex visual scenario. Recent
technological advances have made some of these noises passé, but overall the
music--produced with what at the time were state-of-the-art synthesizers and a
cutting-edge drum machine--remains vigorous.
"Engulfed Cathedral (Debussy)" uses resonant keyboards to loosely imitate
a harpsichord motif, subtly evoking the once-grand beauty of a devastated
temple. Through scant instrumentation and deep, wavering tones, the work
manifests a moving mixture of magnificence and sadness. "Back to the Pod -
Version #2/The Crazies Come Out" offers a more discordant clamor,
incorporating squeaks and mysterious echoes to enhance the frightening
appearance of New York's ragtag population. The "Main Title" is quite
powerful too, introducing a slow, spare theme that perfectly captures the
lone-wolf demeanor of "Snake" Plissken (Kurt Russell), the film's rugged
anti-hero. His scary, solitary attitude is also effectively expressed on the
anxious (and formerly unavailable) "Descent Into New York."
The incessant synth-rock beat of "The Duke Arrives/Barricade" makes that
particular cue a bit dated, while "Snake Shake - End Credits," which wisely
was not used in the final cut of the picture, is far too lighthearted for
the gritty adventure. Yet, even with these minor missteps, the music of
Escape from New York is exceptional. Using only a handful of
electronic instruments, Carpenter and Howarth created a truly energetic,
effective and enduring science fiction score.
