Renowned 20th century composer Philip Glass provides a towering score that weaves gothic pipe organs and a choir with his trademark hypnotic minimalism. Bernard Herrmann nearly refused to score the movie due to its lower budget (and thus lower fee), but he ended up using that to his advantage by working with only strings instead of the full orchestra he’d brought to Alfred Hitchcock’s earlier Vertigo and North By Northwest. 1 (tie) - Have You Seen the Stars Tonite by Jefferson Starship from the "Blows Against the Empire" … In 1979, Werner Herzog set out to remake arguably the most influential horror movie of all time, Nosferatu (1922). Rumbling, bass-heavy synths weave in and out of shrill orchestration and tranquil electronica as tension builds and subsides on a soundtrack that would do justice to any Hitchcock or Carpenter horror classic. Nobody is going to argue Creepshow II is as good as the original anthology horror classic (though an exception could be made for the second story, an awesomely gross Blob-riff called “The Raft”), however you could make the case for Rick Wakeman’s music. (And just to clarify, a soundtrack is generally made up of songs -- like pop music -- connected to the movie, whereas the score is usually non-diegetic music composed specifically for … Best track: “The Murder”, Ruggero Deodato’s Cannibal Holocaust was shot in the style of a documentary, and was so convincing that Italian authorities believed it to be real. Thankfully much of Candyman’s vision remains intact. It’s simply impossible to imagine something like this film’s shower scene shocking a generation without Herrmann’s stabbing string attacks punctuating every strike of the knife. It causes your mind to race and your body to tremble. Off her 2011 sophomore effort, Born This Way, there’s no better example of this than “Bloody Mary”. 35 Greatest Horror Soundtracks: Modern Masters, Gatekeepers Choose Composers, reissue-labels and synth-savvy musicians pick best in fright The drones glow like a Stars Of The Lid record capturing the summer humidity and emptiness of the asylum — filmed on location at the Danvers State Asylum outside of Boston — before patiently sinking into darker and more hellish territory. It may not be a true Halloween movie, but it’s certainly better than any of the traditional sequels. Horror score composers innovated over generations, from Bernard Herrmann’s stabbing Psycho theme to Stanley Kubrick’s liberal use of Ligeti and Penderecki’s “Threnody For The Victims Of Hiroshima” in The Shining and up to the ominous drones and eerie musique concrète of Thom Yorke’s Suspiria score. Its soundtrack isn’t strictly a film score, either; more a dark, ambient soundscape. However, only parts of the score were used in the movie, with the full soundtrack only made available with Alien’s 20th-anniversary edition in 1999. 0 Tracks 55996 Views. Near Dark is one of the most unique vampire films ever made and one of the best collections the German ambient pioneers ever made. It’s like they distilled Chainsaw’s most disturbing sounds and images — of which there are many despite the film’s PG rating — into a score as potent as moonshine. Listen to the very first notes of their seminal 2005 album Tender Buttons and you may recognize them as The Wicker Man’s “Lullaby” theme. 0 Tracks 46022 Views. The film’s director, Kathryn Bigelow, said, “There was a provocative, haunting, mercurial quality that just permeated everything that they did, and gave it a patina… that really transformed it.” Also known by the equally amazing title Twitch Of The Death Nerve, Bava’s film depicts a wealthy family picking each other off in order to inherit the titular bay with all the ugly intensity that made him one of the masters of the classic giallo form. The Mutilator (1985) was a late entry for the slasher-movie craze, … 1986 C.A.T. With melodies that almost play like lullabies, but with a terrifyingly shrill consonance, the A Nightmare On Elm Street soundtrack is sure to trigger nightmares even without the sight of a man with horrific burns and knives for fingers haunting your sleep. It’s Jóhannsson’s most animated score but also the most romantic and tragic he ever delivered. Their influence from Italian horror scores like Suspiria and dreamy Czech New Wave masterpieces like Valerie & Her Week Of Wonders avoids the standard trappings of popular musicians trying to bridge the gap into film scores, because this was already music that was foundational to Broadcast’s entire discography. " /> Levi’s respectfully tender and queasy “Love” and “Death” themes convey most of the overwhelming emotion that Johansson’s masterfully stone-faced performance resists during her doomed journey to understand humanity. The main theme — a pinballing surge of ‘80s guitar licks, propulsive synth melodies, and throbbing basslines — is one of the greatest in horror film history. Best track: “Solitude”, If ambient horror isn’t yet a genre, it should be. There may not be any synthesizers on the score, but Korven’s soundscapes of bone-rattled percussion and obscure instruments, like the waterphone, end up being just as otherworldly. The theme music from the original Halloween movie. Taking over for John Harrison, Wakeman worked with Les Reed to craft a different theme for the three very different anthology segments. Looking for more? Balancing out that energy is the reflective “Evelyn’s Theme,” a gorgeous piano-led piece that recurs throughout (despite no one in the film being named Evelyn). With a string of classic films and scores, Frizzi pushed the director’s disorienting, ultra-violent fantasies to dreamlike extremes. The Exorcist, Mike Oldfield. All of these scores will stick with you long after the credits have rolled. (As mentioned before, this was, after all, a band that sampled obscure melodies from The Wicker Man on their 2005 release Tender Buttons.) Masaki Kobayashi’s Kwaidan or (Ghost Stories) might have been the most ambitious horror film in existence at … That film-within-a-film is actually what Broadcast were asked to soundtrack, a concept they completely ran with. " /> It was also one of the most expensive in Japanese history and stretched over three hours long in its retelling of four folktales. It was then sampled for the main theme. The late ‘70s and ‘80s were a golden age for low-budget horror, and both decades found composers resorting to synthesizers and computers to craft creepy scores on the cheap, which led to iconic electronic music like John Carpenter’s Halloween theme and the music Harry Manfredini composed for Friday The 13th. One of the most important horror films of all time, Psycho is also home to one of the most influential scores in cinema. "/> Kathryn Bigelow’s vampire classic Near Dark eschews traditional gothic atmospheres for a shit-kickin’ biker/western hybrid and German ambient greats Tangerine Dream followed suit with one of their best and hardest soundtracks. 2001 has Requiem by Ligeti which on its face is very sinister but played against the Monolith that eventually leads to another dimension is downright terrifying. Made on the cheap by a mostly amateur cast and crew, Phantasm makes up for its low budget and disorienting plot with enormous ambition. It, of course, peaks with one of the most identifiable music scores in cinema and the piercing staccato strings of ‘The Murder’, where Janet Leigh meets her gruesome end in the shower. Sign in to like videos, comment, and subscribe. The result was this classic soundtrack to the supernatural chiller. Jóhannsson’s performance is as impressive of a balancing act as the film itself, which manages to fuse B-movie Cage and art-movie Cage in a way that previously seemed impossible. I’ve watched The Visitor multiple times and still couldn’t tell you what the hell it’s about. For this truly one-of-a-kind film, playwright and musician Paul Giovanni composed a score unlike anything else in film, horror and beyond. spooky. For this existential horror film told from the perspective of the monster (an alien invader wearing the skin of Scarlett Johansson), Mica Levi made the best use of shrieking violins since Bernard Herrmann scored Psycho. Alien (Jerry Goldsmith, 1979) Alien is considered to be one of Jerry Goldsmith’s best, most fluid film … Tusk Soundtrack List (2014) Complete tracklist, all songs played in the movie and in the trailer, who sings them, soundtrack details and the entire music playlist of the album. Recorded by the experimental band Climax Golden Twins, the score buzzes with crackling tape hiss, sustained piano chords, and glitchy blips that suggest impending doom. Though veteran composer Christopher Young’s score is just fine, you have to imagine how much stranger, scarier, and kinkier Clive Barker’s Hellraiser would have been with the original score by Coil, arguably the most innovative industrial music act of the 1980s. It’s a score that seems to sit outside the rest of the horror canon just as much as Kwaidan’s historical horror and gorgeous visuals do. //. The Other Guys Soundboard. Whether they were making the breezy ‘60s pop of their early singles or the abstract, eerier final albums, Broadcast always seemed to be soundtracking music for films that only existed in the imagination. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. The sole horror film written by the great playwright Anthony Shaffer, The Wicker Man seems like a gently unraveling mystery until we realize (too late) that it’s actually a tightening trap. Though Donaggio’s score classes things up with haunting strings and piano melodies like the recurring “Love Theme,” its best moments are in the flairs of weirdness that match the film itself. Listen here. The genre took off during the Great Depression and has been there for us in difficult times to accentuate and provide some semblance of shelter from our biggest fears. By blurring the line between its music and sound effects, it predates similar ideas David Lynch employed in Eraserhead as well as the work of Jóhann Jóhannsson, who would make the blurring of that line his signature sound. Providing input to the band, Argento takes the music as seriously, if not more so, than the script itself. He’d made the war on drugs sound like literal hell in Sicario and infused alien invasions with angelic grace for Arrival, but with his first horror film score he achieved a delicate balance. The soft music offers an essential counterpoint in a film that relies on sound cues for many of its biggest scares, but by the time Session 9 hits its nightmarish and emotionally devastating final stretch nothing, not even the music, is there to protect you. His utterly bizarre soundtrack, including a main theme song that’s equal parts the Residents, Parliament, and Ariel Pink, turns chintzy lo-fi keyboard themes into pure gold. Following that are shrieking synth stabs, pulse-pounding chase themes, atmospheric melodies, as well as the cheery Silver Shamrock commercial jingle, a seemingly harmless rendition of “London Bridge” that will haunt you once you reach the film’s bleak conclusion. It matches Argento’s dream logic in every twisting step, transforming at any moment to build mystery, tension, and release in its agonizing murder scenes.