Legendary director John Carpenter brought his live soundtrack experience to Liverpool's Olympia just about a year ago, and the reaction was something close to ecstatic. Combining large video screens with driving synth rock, it was probably the most direct exhibition of the director's USP imaginable. Loud neon, wailing synths and pounding energy. The Master of Horror crossing into the musical mainstream to receive his dues.

Following up on that tour, Carpenter here brings together the themes from 13 of his movies to remind us exactly how pervasive is his influence on modern culture.

It's hard to think of another auteur whose career working in the moving image is tied so closely to the soundtracks that accompany his movies. Tarantino's jukebox raven-ism may have revived the careers of a dozen forgotten 70s acts, but his original scores are usually closely observed contributions by other, these days legendary artists. Wes Anderson works with musicians who can reflect his own dollhouse aesthetic. Carpenter's scores are usually as important as the stars, script or setting. Kurt Russell is Snake Plissken partly because of his blockbusting theme tune. The director’s compositions have bled into the horror and sci-fi genres; you can detect a very conscious echo in the title theme for Stranger Things. College, Trans Am and Broadcast all pay homage, wittingly or otherwise, to the majesty of Carpenter. I haven’t seen it yet, but you can almost guarantee that the Thor: Ragnarok score will ape Escape From New York.

Born as much out of necessity as of any other reason, Carpenter's poverty while developing Dark Star with fellow artist Dan O'Bannon led him to score the student film himself. The result sets the template for much of what was to come; doomy synth, arpeggiated melodies like electronic reworkings of old Universal horror themes pumped up with brash heavy rock rhythms, or western riffs on They Live or Big Trouble In Little China.

As guilty a pleasure as Big Trouble In Little China is (and there are few guiltier), it gets a suitably ridiculous ball punch of a theme and fully deserves a place on this collection. The Fog, Christine, Prince of Darkness and In The Mouth of Darkness all reside somewhere in the mid-range of the director's artistic legacy, and have all in recent years undergone, to a greater or lesser extent, a critical re-examination. The Fog - the theme for which is a knowing call back to Halloween and, yes, The Exorcist - should rank among the best horror movies of the 80s.

The movies that don't get a name check (Ghosts of Mars, Memoirs of an Invisible Man) tend to be those on which Carpenter suffered from studio interference or critical mauling - though the inclusion of Vampires will perhaps​ raise a few eyebrows. Mind you, Carpenter never exactly lacked confidence in his own abilities; bumping Ennio Morricone to write his own (perfect) theme for The Thing proves as much. John Carpenter's music is as integral to his filmmaking as Tarantino's curse words and pop culture references, Guillermo Del Toro's obsession with clockwork or the Coens’ knowingly chaotic sense of narrative logic are to their own canon.

His influence seeps deeper into the mainstream of popular culture with every passing year, prowling our neighbourhoods like the menacing Shape of Halloween, hiding in plain sight like the skinless alien invaders of They Live. I'd happily spend the whole winter tied to this fucking couch listening. Better yet, go watch the movies.