With a pristine reputation as one of the most in-demand session drummers in the business, he has also recorded for Katy Perry, Michael Bublé, Nelly Furtado, Kelly Clarkson, Avril Lavigne, Social Distortion and others. Over the years his resume has expanded to include more than 300 recordings in genres ranging from pop to country, co-writing songs with Queens of the Stone Age, Devo and Sting. He’s also released numerous solo projects where he’s credited as the singer, songwriter and instrumentalist.Īs his experience clearly depicts, Freese has no trouble switching up styles. He grew up in a family of musicians, with his father working as a musical director at the Walt Disney Company and his mother being a trained classical pianist. Freese was most recently drumming for Danny Elfman and the Offspring, with whom he was touring up until last year. He’s also a longtime friend of both Grohl and Hawkins and is a seasoned session act who has performed and toured with rock bands Guns N’ Roses, A Perfect Circle, Puddle of Mudd, Nine Inch Nails, Weezer, Paramore, the Replacements, Sting and the Vandals, to name a few. Although the name might not seem entirely familiar at first glance, it’s more than likely you’ve either heard or even own a record that has him listed in the credits.įreese joins the group after having played alongside a star-studded lineup for the Hawkins tribute concerts that the Foos put together in London and Los Angeles last fall. Taking on the challenge of filling Hawkins’ role, as Variety tipped back in January, will be Josh Freese. Because whereas the two Carpenters lull you in with their hypnotic rhythms, Davies keeps you on edge, and it takes a hell of a lot of finesse to maintain that for 10 tracks.The Foo Fighters are gearing up for a bustling touring season - their first without drummer Taylor Hawkins, who died tragically in Colombia last year - that kicks off with a date in New Hampshire in the coming week. He brings a swagger that feels like the anthemic smokes of Snake Plissken or Napoleon Wilson. He’s the stealth assassin within Carpenter’s wall of sound, and his electric punctuation is palpable. No shade to the Carpenters, who both have their fair share of poster moments, but Davies is the MVP of Lost Themes III. spirals that shut down album opener “Alive After Death”. It’s in the Western wash of “Dripping Blood”, it’s in the pummeling crunches within both “Weeping Ghost” and “Cemetery”, and it’s certainly in the 3 a.m. That’s just not the case here as Davies curiously finds all the right tones, a marriage that speaks to that maturity. Loomis, eluding the Master of Horror by overpowering his works. In the past, the guitar has often felt like The Shape to his Dr. What’s surprising, then, is how seamless the six-string drills into these compositions, which is something of a rarity for Carpenter. So, it’s hardly surprising that the more synth-driven tracks on Lost Themes III are all slices of pumpkin pie. He didn’t just corner the market, he created it, having inspired countless composers who all eventually reference his work given a long enough time. The Good: Synths and piano have forever been the easiest flexes for Carpenter. “We understand each other’s strengths and weaknesses, how to communicate without words, and the process is easier now than it was in the beginning,” Carpenter has stated in press releases leading up to its release, adding: “We’ve matured.” That growth is evident in all 10 tracks of his latest opus, and the tagline is thus: John Carpenter is back, and this time we’re ready. Once again, John Carpenter is working alongside his son Cody Carpenter and his godson Daniel Davies, a collaboration that’s only grown stronger with time. The Lowdown: Six years after returning to the synthesizer for 2015’s Lost Themes, the Master of Horror is back for more with its second sequel: Lost Themes III: Alive After Death.
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