Even if you have somehow never seen a John Carpenter movie, you know what one sounds like. One of America’s finest living filmmakers, the master of horror—among other genres—has directed at least half a dozen high masterpieces, including Assault on Precinct 13, The Thing, and In the Mouth of Madness. In 1978, with the prototypical slasher Halloween, he helped create a form that’s been emulated ever since. Minimalism is the presiding mode of Carpenter’s music, particularly in the early films, and clarity is its defining virtue. His percussion tracks often comprise little more than a steady metronomic tick-tick-tick; his melodies, always memorable, have a spartan elegance. Decades later, the heavy thump of Carpenter’s analog synth in Assault still quickens the pulse, and the Halloween piano, however widely imitated or parodied, still stands arm hairs on end. And no matter how many times you’ve heard these pieces, the dynamic arrangements and performances on this album thoroughly rejuvenate them.