Time to Settle the Score!
That’s right. We’re talking scores. Film & TV scores, to be exact. The beautiful language that accompanies a body of work, sometimes subtle enough to fall into the background, lulling you into whatever mood the composer’s chosen. Sometimes bold and alarming, designed to hold the viewer by the throat. It’s a language of instruments, passion, and a bit of alchemy. Some of the most nerve-rattling scores snag your attention with a seemingly innocuous set of notes that build to a heart-pounding crescendo. Think of the magic John Williams brought to Jaws. Without that simple, steady rhythm, the world never would’ve learned to fear the ocean. John Carpenter brilliantly demonstrated this when he composed the theme song for Halloween. With a keyboard, no budget, and one hell of a time crunch, he conjured magic. Again, a simple set of repetitive notes that immediately captivates and terrifies. Pulsing and affective, it’s one of the greatest theme songs of all time. Contrarily, a score can wallop you in the belly with complexity and mood. Wojciech Kilar’s score for Dracula was anything but subtle. It’s grand and big and dances with a flourish, but it also knows how to have fun.
They come big, they come small. They come grandiose, they come understated. There’s no formula for composing a brilliant score, but there is one goal in mind: multi-faceted movement. The music must move with the film while simultaneously moving the film’s audience. The composer must fluently speak the same language as the filmmaker in order for the music and the film to seamlessly connect at every turn. It’s a dance, a bit of romance, and when it sparks, the whole damn thing lights up, dazzling and explosive. The combination of a well filmed scene and a moving score can evoke an avalanche of emotion. Shawshank Redemption is one of the most beautiful stories put to film, with a stunning score that accentuates its impact but also knows how to speak softly during the film’s quiet moments. Shortly after the opening, we get a sweeping aerial shot of Shawshank prison, from the entrance, to the roof, to the yard. Thomas Newman’s perfect score accompanies this powerful scene so well, it brings life and immediate sorrow to the landscape. Hands down, The Shawshank Redemption has one of the greatest scores in cinematic history, and it’s a shining example of that sweet, symbiotic relationship essential to a film’s success.
I’m a total sucker for a great score. I love hip-hop, rap, classic rock, grunge, electronica, weird shit with no defined genre, but I’m particularly fond of film scores, especially horror scores. Whether I’m painting or writing, I have a soundtrack playing in the background. Every short story I’ve written was completed with the aid of music. My two novels… I don’t think I wrote a single word without an amazing instrumental piece playing in my headphones. As painting goes, I couldn’t put a stroke down on canvas without music. Music has accompanied me on every artistic journey I’ve set out on. It fuels my creativity and adds magic to an already majestic process. Music and art—the two go together like peas & carrots, as Mama Gump would’ve said, and films are a wondrous example of that divine coupling.
I could fill a book with amazing scores/soundtracks. There’s no shortage of incredible composers in the world, but for the purpose of this article, we’re sticking to 20 of the greatest horror scores of all time. Without further ado, and in no particular order, let’s get busy.
1. HALLOWEEN - John Carpenter. Okay, okay. I said I was listing these in no particular order, but I’ll be damned if I don’t perch this puppy on top of the list. It’s no surprise to anyone that this film's theme song is one of the greatest, most iconic pieces of music to come out of Hollywood.
2. PENNY DREADFUL - Abel Korzeniowski. This beautifully shot, splendidly acted, and perfectly scored gothic horror show ran for three seasons on Showtime. The score is a hauntingly beautiful addition to an already masterful piece of art, seamlessly woven throughout with such attention to detail. One of the best soundtracks…ever.
3. THE WOMAN IN BLACK – Marco Beltrami. Haunting, gothic, creepy, and a bit spine tingling. If you’re after a classic horror score from a classically told ghost story, give this a shot.
4. HELLRAISER - Christopher Young. There’s not a piece of music from this album that I don’t like. Sure, it’s a bit dated and a bit dramatic, but that’s part of its charm. Its flare for dramatics, along with its darker notes, lend to a whimsical quality I find so charming when teamed up with horror. It’s a lot of fun. I love to cook to this one—go figure.
5. IT FOLLOWS - Disasterpeace. If you don’t know, now you know! But…how could you not know? If electronica had a love child with John Carpenter’s muse and it was baptized by THE THING, you’d find the genetic map for this film’s score. It’s awesome and weird and retro, with a healthy dose of modern horror. It’s amazing, but I would be remiss not to mention that, while this score is badass, its listenability factor sometimes lacks. Meaning: some pieces carry loud, ear-piercing notes that are perfect in the film, but not always great for easy listening.
6. NIGHTMARE ON ELM STREET - Charles Bernstein. C’mon! It’s fun. So much nostalgia.
7. DRACULA - Wojciech Kilar. As previously mentioned, it’s a powerhouse of a soundtrack. Nearly every piece of music is quintessential horror. It captures the essence of the genre beautifully, and with an elaborate flair that’s a bit more ominous than you'll find with Hellraiser. This is one of my favorites.
8. PSYCHO - Bernard Hermann. It’s classic, yet it was ahead of its time. When so many films of the early 60s were paired with questionable scores, this one still holds its own. Spooky, charming, and full of suspense. Never gets old.
9. TRUE BLOOD - Nathan Barr. Without fail, when I play this album, my eldest always says, “Such an amazing score for such a trashy show.” Listen, I watched every season. Trash or no trash (it’s trash), I had fun with True Blood. Still, it’s not even close to being a great show, but it does have one hell of an amazing score. Soulful, dark, brooding, rich, foreboding, all with a hint of deep, southern history. Don’t believe me? Try “Hairclip” or “Bill’s Lament”. These are just two songs in a badass list of original, unique pieces masterfully composed.
10. THE RING - Hans Zimmer and Fiachra Trency. It’s dark and ominous. It’s just a creepy, kickass score. Real classic stuff here, with a touch of whimsy interspersed throughout heavy-hitting notes. Hans Zimmer’s a bit of a genius and impressively prolific. With contributions like Inception and The Ring, I’ll give a listen to anything he creates.
11. WHAT LIES BENEATH - Alan Silvestri. Of all the soundtracks on this list, this is the most classic score. If someone tasked you with creating a quintessential horror score, this is what you’d want to compose. It might not be my absolute favorite, but this score definitely earned its spot.
12. THE OMEN - Jerry Goldsmith and Lionel Newman. Two words: Ave Satani. Listen to it. It’s. F*****g. Amazing. Music doesn’t get scarier, nor more foreboding. It’s heavy, showy, and not even a little playful.
13. THE HAUNTING OF HILL HOUSE (AND BLY MANOR) - The Newton Brothers. These dudes know how to bring it home. Both seasons of the show shared a soundtrack, for intents and purposes. Some tweaks were made for Bly Manor, but generally speaking they stuck true to the original score. And why shouldn’t they? It’s perfect. While it’s not the most heart-pounding soundtrack, it’s sorrowful, meaningful, and hauntingly beautiful. A stellar contribution to the horror genre, with an amazing score comparable to Penny Dreadful's. Someone needs to give these cats more awards.
14. THE WITCH - Mark Korven. Another one that takes a hit for listenability. There are some real screechers in here—the kind of stuff that has you frantically clambering for the volume. Having said that, it’s one hell of a soundtrack. These pieces were beautifully crafted with a deft hand.
15. HEREDITARY - Colin Stetson. This one pains me. Hands down, this is one of the greatest horror films, not just of modern history, but of all time. It’s a terrifying masterpiece that brought me as close to scared as a film ever has, and it boasts one hell of an impressive score. But the damn listenability factor. Some of the tracks on this album aren’t meant for leisure listening. They hit hard, loud, and at an octave too high to sit back and enjoy. When I’m knee-deep in writing or painting, I’m not looking to fray my nerves. Still, it’s an amazing score that suits the film perfectly.
16. BATES MOTEL - Chris Bacon. A solid score with pleasantly eerie features perfect for long stretches of work. You can hear bits of Christopher Young in there, in addition to other earlier works. A fantastic fusion of old and new, which lends well to the vibe of the show. Love everything about it.
17. SHAWSHANK REDEMPTION - Thomas Newman. Strictly speaking, this isn’t horror, but it is King, so I’ll make an exception. As stated, this is one of the most moving, stunning scores put to film. It’s exceptional in its depth and beauty.
18. DEFENDING JACOB - Atli Örvarsson. Again, not quite horror, but suspenseful and horrific. It’s a damn fine soundtrack. It’s not perfection, and it’s certainly not the best on my list, but it’s a solid contribution with a great track list for steady work.
19. This one goes to Danny Elfman. I could’ve selected any one of the numerous films he’s written music for and it would’ve held its own just fine. But the man’s a prolific, musical genius. I couldn’t pick just one. Back in the days of Oingo Boingo, it’s unlikely anyone would’ve guessed Elfman would become a household name with his film scores. Hell, even he didn’t see that curve ball coming. But the winds of change saw it fit, and a plethora of Tim Burton films are the better for it. Nightmare Before Christmas, Edward Scissorhands, Batman, The Corpse Bride, Monster House, Alice in Wonderland, and a ton more. Danny Elfman has spent a lifetime putting music to the light-hearted, kid friendly works of whimsical horror we’ve all come to love. His style is playful, yet full of soul and depth. The man’s a true talent and a heavy-hitter. Who doesn’t love the man who gave a (singing) voice to Jack Skellington?
20. Here we are, at the end of our list. I could’ve picked one more film to fill the spot, but instead I’ve chosen some honorable mentions from films/TV shows that had a great theme song but a lackluster track list. Here we go… THE SHINING, FRIDAY THE 13TH, THE FOG, THE EXORCIST, THE THING, TALES FROM THE CRYPT, SUSPIRIA (though the whole soundtrack is pretty damn good), CAPE FEAR (1991), and JAWS.
That’s that, dear readers. The end of my list. There’s a whole world of wonderful scores missing from this list—some I’ve yet to discover. Now go forth and listen closely. One of these might just be the soundtrack that kicks your creativity into high gear.
Comentarios