Jim Lang – In The Mouth Of Madness (Original Soundtrack Recording)

Carpenter’s books of bedlam.

The 1990s and 2000s marked some exciting musical developments in the storied career of writer-producer-director-and perhaps more importantly to Discogs , a top-tier film composer.

This post-“Halloween” period marked a prolific compositional time for Carpenter, venturing into more orchestrally structured scores for “Escape From L.A.” and “Village Of The Damned, and exploring his love of Rock, Heavy Metal, and R & B showcased in “Ghosts Of Mars” and “Vampires.”

Not unlike his six film scoring collaboration with tech engineer Alan Howarth (seven if you include his additional scoring for “The Thing”) during the 80s, he partnered with Knobworld Studio engineer and noted animated features composer Jim Lang in the 1990s. Like Howarth, Lang provided state-of-the-art tools allowing him to realize his musical nightmares.

Their brief pairing resulted in “Body Bags” and “In The Mouth Of Madness.” Working extensively with the Synclavier, which sampled the director’s voices as evidenced in “They Live,” Emulator, Korg, Roland, and Prophet equipment are also given a vigorous workout preserved on this great CD!

Sometimes dismissing his body of scores as unjustly deserving of the accolades bestowed upon them, his self-deprecating assessment belittles a great talent capable of authoring iconic themes, his dexterity with guitar, violin, and synthesizers, and his unique ability to build scores lushly adorned with a memorable main theme and a rather leitmovic development.

Such gifts, largely absent from many of today’s film scores, display the gifts of a consummate musical artisan.

His H.P. Lovecraft homage (scripted by Michael DeLuca) features Sam Neil portraying the burnt-out insurance investigator John Trent, assigned to seek out the whereabouts of the fictional ‘Sutter Cane’ (Jürgen Prochnow).

A superstar in the horror novel world, Cane’s literary visions are having an odd effect on his devoted readership, growing increasingly surreal and violent. Upon digging into his disappearance with the help of his aide Linda (Julie Carmen), he soon learns reality is stranger than fiction-or are they one and the same?

The main titles, ”In The Mouth of Madness” opens the recording with a defiant onslaught of hard-rock roaring. Featuring Carpenter and Kinks member Dave Davies on guitar, with Lang and Carpenter on synths and Fender Rhodes, it augurs the apocalyptic nihilism about to be unleashed.

Similar to fellow pioneer George A. Romero, their shared cynicism was astounding to many audiences. Whether symphonically or acoustically rendered, Carpenter’s musical voice is bold and instantly recognized, as evidenced by this track, constructed with a perilous majesty.

Carpenter's bluesy guitar vibes leave a sour feeling with a visit to "Robby's Office." The startling "Axe Man" attack accompanies his glass shattering introduction with a pounding sensation, a queasiness further developed in a hallucinatory "Alley Nightmare." Trent and Linda's visit to the eerie "Hobbs End" is quintessential Carpenter, with bristling lines of electronic strings and ambient pads.

Their subsequent stay at the "Pickman Hotel" is no less disturbing, a seemingly abandoned abode save for a deeply eccentric hostess. Soulless performances for "The Black Church" expand upon Trent's expanding uncertainty about not only his sanity, but of his longevity. "When Cane asks Trent, "Do You Like My Ending?," an ominous, seething air of synths and clustered beats are unleashed.

in a most obvious nod to Lovecraft, "The Old Ones Return" focuses on his slithering and ugly monsters. Comprised of electric string samples, it is a taut work reminiscent of one of Carpenter's finest accomplishments, "Prince Of Darkness." (The piece was oft-used by New Line Studios in their trailers).

When "The Book Comes Back," one of the most supernatural and haunting beatbox marches you shall hear slowly plays as a beyond confused Trent emerges irrevocably transformed from his Hellish time in Hobb's End. Ending the recording is the solemn and isolating aura of "Just A Bedtime Story."

Not included on this presentation is an instrumental cover of The Carpenter's "We've Only Just Begun," appearing during Trent's ission into an institution.

A full digital recording, this 1994 score deserves an expanded, deluxe presentation and aural scrub befitting of its wondrous musical delights. Here's hoping Carpenter's new home, Sacred Bones Records, will revive this intense collage of perturbed sonic derangements.

Given Carpenter’s popular reinvigorated musical career, resulted in sellout international tours, new “imagined” film scores, deluxe 12” singles, a trio of new “Halloween” scores and his score for the “Firestarter” remake, the time has come for all his remaining incomplete soundtracks see the light of day.

Needs a vinyl release as soon as possible! Someone get on it!!!

The whole soundtrack is dope but the opening track is bangin'!