The Synth of Fear: Horror Films with. The earliest and best known of. The following is a selected list of significant horror film soundtracks featuring. 20 of the best horror movie soundtracks in history from 'Psycho', to 'Halloween', to 'It Follows', including composers such as James Horner and Danny Elfman. Top Ten Horror Film Scores. Horror movies would be nowhere without the music. There to amp up the scares and punctuate the chase, horror scores are vital in crafting an effective film. So for your listening pleasure, here are the top ten horror film scores. Kick back with some vintage headphones and enjoy the spooky ride. Suspiria. Dario Argento’s surreal masterpiece is unforgettable, but try to imagine it without that inimitable Goblin soundtrack? Next to impossible, huh? That’s the sign of an effective horror score: so inextricably mingled with the terror that one simply cannot exist without the other. With its intensely beautiful melodies–and random lyrics thrown in just to enhance the off- putting aura–the Suspiria score is one- of- a- kind in the best possible horror way. And even without the Technicolor blood, Goblin’s theme song makes for a macabrely fun listen. A Me Decade accomplishment every way you look at it. Phantasm. As one good turn inspires another, the score for Phantasm was heavily influenced by Goblin. The electronic sound of the 1. Horror Movie Soundtracks. Polish jazzman Krzysztof Komeda scored many Roman Polanski films. Alfred Hitchcock's Top-Grossing Movies. If I had to choose just one great horror soundtrack from the. If ever a film set out to disprove the argument that the best film music is that which you don. The Best Film Soundtracks & Scores Of 2012. Dec 14, 2012 2:16 pm Share This Article Reddit LinkedIn WhatsApp Email Print Talk We're. Fred Myrow and Malcolm Seagrave might not be household names, but their Phantasm score remains one of the most memorable journeys into graveyard mayhem. Because as we all know, metal spheres with blades are always scarier when set to music. Halloween. My mother and I were recently talking horror movies (because my mom is super awesome and knows her stuff when it comes to the genre). Without her being aware I was in the throes of drafting an article about horror film scores, she commented something along the lines of “Every John Carpenter soundtrack sounds the same. It’s good, but they’re all interchangeable.” Now I, of course, respectfully disagreed, but that being said, good ol’ mom does have a little bit of a point. Most great films are nothing without the right soundtrack. This seems to be most apparent in the horror genre. Every single one of the greatest horror films ever made.Consequently, I chose only one film to represent Carpenter’s oeuvre. And while I have a real soft spot for the creepy music of The Thing (which was actually a collaboration between Carpenter and legendary film composer Ennio Morricone), Halloween is the slasher masterpiece that started it all, so it’s the obvious choice. The behind- the- scenes story goes that Carpenter screened the film with no soundtrack and quickly realized it wasn’t remotely scary. One laborious trip into the studio later, and he had a classic. Near Dark. Remember back in the day when Tangerine Dream ruled when it came to film soundtracks? Oh, to travel back to the technologically simplistic days of the 1. Casio keyboard were all you needed to sound amazing and futuristic. Recorded in Berlin–with director Kathryn Bigelow in the studio during production–the score for the Oklahoma- set Near Dark is at once jarring and lilting, making it perhaps the most lethally beautiful dust storm you’ll ever meet. Candyman. During the genesis of these lists, there is oftentimes one film in particular around which I construct the entire idea. The unnervingly lovely Philip Glass score from Candyman was the centerpiece of this week’s article. According to the lore behind the film, in order to persuade renowned composer Glass to craft the haunting music for the film, director Bernard Rose omitted details about just how gore- laden the finished project would be. Upon release, Glass was not entirely thrilled that he had scored what he deemed a conventional horror movie. However, he eventually came around–at least somewhat–as he added a few tracks to the Candyman II score and ultimately released the music–first on CD in 2. Better late than never. The Exorcist. The horror movie score that introduced the word “tubular” into the creeptastic vernacular. The score for the 1. Mike Oldfield’s legendary “Tubular Bells”, which was released independently from the film’s soundtrack and was incidentally on the first ever album from Virgin Records. Another random research note: director William Friedkin later commented that he would have selected Tangerine Dream to score The Exorcist if he had heard their music sooner. You suddenly sound so Reagan- era synth! The Shining. Proving the value of the less is more aesthetic, the score for The Shining makes the most of every note, sometimes with no more than simple discordant chords during otherwise banal establishing shots. The original soundtrack for the film was scrapped after it didn’t pass muster with capricious genius Stanley Kubrick. Ultimately, there is empty silence as often as there is music, and that choice undoubtedly enhances the omnipresent terror of the Overlook Hotel. Room 2. 37 please. MWhile we’re on the topic of “less is more”, how about a film with next to no soundtrack other than one classical tune? Consider exhibit A, er, M. The Fritz Lang masterpiece makes such effective use of Edvard Grieg’s Peer Gynt that the lovely song almost becomes nausea- inducing even when there’s no murderous Peter Lorre whistling it. And by the way, Peter Lorre actually couldn’t whistle, so that was Lang’s wife (and co- screenwriter) Thea von Harbou doing the soundtrack work for him. Jaws. When my goddaughter was three, we introduced her to Jaws. This was a major initiation into the family. And despite being easily scared, she took to the film with aplomb. No matter where she was playing in the house, the moment John Williams’ inimitable score came on the television, she would stop what she was doing and announce “There’s that dangerous music again.” That’s the visceral power of melody. You can hear it from another room and know instantly what it means. So even if Bruce the Shark was less than cooperative on the set of the 1. Psycho. When it comes to horror movie scores, Psycho is truly the one to beat. After all, nothing slices straight through the public consciousness and stays there for over half a century quite like violins and Bernard Hermann. Originally, the shower scene was going to be silent. Then it was going to have jazz music (because really, why not?). But Hermann’s orchestral arrangement ultimately persevered, and celluloid history is forever changed–and all the better for it. What’s your favorite horror film score? Let me know in the comments below! Horror film soundtracks: best and scariest. It's Black Friday - Friday 1. I stopped Googling songs for Black Friday because Rebecca Black's Friday kept showing up. I thought of Steely Dan's Black Friday straight away. Then I realised that a better thing to do than building a Black Friday Playlist, my initial plan for today's blog- post, would be to look at horror movie soundtracks. Why? Because as soon as I stopped listening to Steely Dan's (awesome) Black Friday song I thought about the horror film Friday The 1. But I really like the end scene/credits music - in fact here's the actual scene. The iconic scenes in horror movies are framed by vital pieces of musical score, the obvious examples being music from Psycho and music from Jaws. It stays with us - it often becomes ripe for parody, reused for comedic effect in spoof films, recontextualised, sampled for hip- hop tracks. Dr Dre's 2. 00. 1 uses some great snatches from John Carpenter. John Carpenter is one of my heroes. His filmmaking gets the big tick, absolutely - if he'd made nothing else but They Live I would consider him a hero. But the real kick I get is hearing Carpenter's soundtrack work. He scores his own films, writing the music, performing it. It started with Halloween. And the music from that film is some of my favourite horror- film music. Another obvious example, something startling, powerful, haunting, is the music from The Omen. A still- frightening film, worryingly frightening in fact. Sinister. And then there's The Exorcist - famous for its use of Mike Oldfield's Tubular Bells, specifically this extract. The first horror- film franchise to win me over was A Nightmare on Elm Street. I was obsessed with Freddy Krueger. Thing is, I was s**t- scarred of the idea of horror- films as a kid. I decided to intentionally overdose on them, to conquer a fear, I guess. So it was the Elm Street series first - and I love Charles Bernstein's score for the first film. I had a T- shirt for A Nightmare on Elm Street 5, a giant poster for the fourth film in the series; the third on VHS - I found soundtrack LPs. I was dedicated - until they brought Freddy back from the dead one too many times!)After Elm Street I was hooked - four films into that series and it was on to Halloween, Friday The 1. Hellraiserand whatever I could get my hands on. Comedy- horrors were part of the deal too, but I was keen on the real stuff. Gore, ghosts, gruesome stuff. The best horror though, the most frightening, the viscerally charged material, for me, is always the psychological terror - music plays such a huge part in the build, the layering, the suspense. I keep an ear out, still, for great horror music. It's one of my quirks perhaps; it's a hobby that I almost keep separate from my passion for great film scores. And my interest in music. Obviously it's related - but somehow it sits on its own still, a collection of music that reminds me of the time I spent scaring the living s**t out of myself as a 1. Well it started at 1. And on it went from there. Scenes from The Shining still linger, along with the music of course - coupled with my fascination in horror films was a love of the Stephen Kingbooks. I just discovered two dozen of his books last weekend at my parents' house. The books were packed into the car to return with us to fill up a gap in the top of the bookshelf, reunited with the handful of his books that I did already have in Wellington. I keep telling myself that I will once again read a Stephen King book. I'm not sure if I actually will - but I admire his work from that time. It was simply more fuel for the fire. A break from watching a horror film, in my world, meant a chance to kick back with a King novel and listen to Bernard Hermann's Cape Fear score on cassette tape or an LP of The Omen soundtrack. I'm forgetting to mention George Romero's cult- classic Dawn of the Dead - some great music from that film. And so many others. Two of the best for me: Texas Chainsaw Massacre's opening credits music and Silent Night, Deadly Night's theme (man I loved that film!)Watch the film without the music and it's not scary. That's often the case - I'm not sure why anyone would want to do that, of course. Well, sometimes, you can listen to the music and not have any fear at all - it's lovely and serene, calm, soothing. In many cases it was horror film soundtracks. Remove the context and it survives as its own thing. But some of the best horror movie music is just downright creepy - curious and disturbing, dark and weird, evil. I love so much of it, the terrifying and the whimsical. Who's with me? Who else is a fan of the dark and twisted, the incongruously serene? I'll mention The Director's Cut, an album by Fantomas that features horror- score re- imaginings. Because, well, if I don't mention it somebody will complain that it should have been mentioned. I like the album - definitely. But it's a bit like listening to Jacques Loussierplaying his version of Bach. Cute, and not entirely without merit but after a while - or perhaps quite swiftly - you just want something that is that much closer to the real thing. So, for this Black Friday let's start a list of the great horror- film music and the great horror- film moments that could not have worked without the music. The shark in Jaws didn't even work, so the music helped cover that up. The subverted nursery rhyme from the Freddy Krueger/Nightmare films. And so many moments of apocalypse, of all- out carnage, or the creeping loom of suggested terror. Scored by a shriek of violin or a thrum of guitar, the twinkle of the piano, synthesisers serving up some form of nausea- inducing discomfort; wonderful stuff. I love it. So what horror film soundtracks do you love? What are your favourites? Do you have favourite composers, favourite film scenes that work because of the music? Or were you a film fan who bought the soundtracks as part of the ephemera relating to the experience of being wrapped up in the movie? There's a guy in the documentary Cinemania who has hundreds of movie scores on vinyl; the only records he collects. He doesn't even own a turntable. He's never played any of them. I also think that horror films went downhill when the soundtracks were phoned- in after, not a carefully considered part of the film. To me the soundtrack of a horror- film is often one of the stars; in that sense it's a bit different from how other film soundtracks work, in support, sometimes barely noticed. I'm off to plan my Black Friday mini horror- film festival. Thanks for allowing me to ramble on about this. Are you a horror- film soundtrack junkie too? Keep up with Blog on the Tracks on. Facebook and follow on Twitter. And follow Off the Tracksto read 'The Vinyl Countdown' - an album- by- album review of my record collection. You canemail me with blog- topic suggestions or questions. Registration is not required to post a comment but if you sign in, you will not have to enter your details each time you comment. Registered members also have access to extra features. Create an account now. Maximum of 1. 75. I have read and accepted the terms and conditions. These comments are moderated. Your comment, if approved, may not appear immediately. Please direct any queries about comment moderation to the Opinion Editor at blogs@stuff.
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