Horror as a genre is undoubtedly indebted to its scores and soundtracks, with many going on to influence music outside of film. While some films use extravagant and complex scores, others opt for minimal audio or even complete silence. Both of which have an equally chilling effect. As an avid horror fan, I’m always paying close attention to the music and the role it plays in striking fear in its audience. With the Halloween spirit freshly charged, here’s a list of some of the greatest horror film soundtracks – from dystopian synthesisers to mediaeval harps, and classics to personal favourites.
10) Halloween (John Carpenter, 1978)
Kicking off with a classic, what better way to start than with Halloween. Already on a low budget, director John Carpenter decided to write the score himself. The result was an instantly recognisable main theme that became massively pivotal for synthwave music. Influenced by Bernard Herrman’s score for Psycho, Carpenter wanted to create something that was effective without being overbearing. The main theme is minimalist, using only piano and low synth notes. By matching an odd 5/4 time signature and staccato piano notes, it has a disorienting effect. All the while it is driven by a persistent clock-like percussive sound, indicative of imminent danger. The importance of Halloween’s score cannot be understated, and the film would definitely not be the same without it.
9) The Exorcist (William Friedkn, 1973)
Known for its terrifying head spinning and spider walking scenes, The Exorcist’s soundtrack is just as iconic. Director William Friedkin compiled the soundtrack from various pieces of classical music. It is mainly known for its title theme, ‘Tubular Bells’ by Mike Oldfield. Oldfield wrote his impressive debut single whilst battling with mental illness, and the film’s usage of this made it a huge success. His use of piano and organ meets Friedkin’s criteria of feeling childlike, while still reflecting the darkness of the film. Friedkin also chose pieces by Krzysztof Penderecki, a composer who later became synonymous with horror after being used in Kubrick’s The Shining. Without being too imposing, the soundtrack provides the perfect ambience for the film and it is deserving of its fame.
8) The Shining (Stanley Kubrick, 1980)
The Shining’s soundtrack consists of both classical music and electronic music by Wendy Carlos. Carlos’ opening theme is very futuristic, evoking a sense of impending doom. It features only sinister, sparse notes on the synth with eerie vocals. It is melodically simplistic yet full of dread, generating immense sounds that fill the vacuous Overlook Hotel. Interestingly, it is also based on ‘Die Irae’, a traditional Catholic song used for funerals. Elsewhere in the film, Kubrick’s makes use of various Krzysztof Penderecki’s ‘Natura Sonoris No.2’ when Jack chases his son through the maze. The piece challenges the expectations of traditional music by experimenting with timbre and register. It is manic and at times over the top, so is the perfect choice for Jack’s descent into madness. Faced with the difficult task of choosing the right pre-existent music and making it line up with the film, Kubrick’s meticulous efforts certainly paid off.
7) Donnie Darko (Richard Kelly, 2001)
This sci-fi psychological thriller set on the run up to Halloween is a must watch. It has a mind blowing plot impossible to summarise, but its soundtrack is definitely worth mentioning. Set in the 1980s, it consists of various alternative pop songs from the decade as well as original compositions. The film uses Echo and The Bunnymen’s ‘The Killing Moon,’ a gloomy mood setter which makes for a memorable opening sequence. Other songs include ‘Under The Milky Way’ and ‘Love Will Tear Us Apart’, epitomising the decade as well as the film’s events. Duran Duran’s ‘Notorious’ plays over a strange sequence in which Donnie’s sister performs a dance routine, and he prepares to burn down a house. The film’s original compositions by Michael Andrews are also noteworthy. Playing the piano, mellotron, xylophone and organ himself, Andrews brings an eerie atmosphere to the film as it delves into time travel and alternate universes. It concludes with Gary Jules’ cover of ‘Mad World’, recorded specially for the film. The film sparked an interest in the sombre rendition, resulting in it becoming the UK Christmas number one in 2003.
6) Nosferatu the Vampyre (Werner Herzog, 1979)
Herzog’s iconic vampire film uses a score composed by German Krautrock band Popol Vuh; Krautrock being an eclectic genre blending experimental rock, avant garde, psychedelic, and electronic music. This may seem an interesting choice for a horror film, but their score is genuinely unique. The film is based on the 1922 silent film Nosferatu, which itself is based on Bram Stoker’s ‘Dracula’. The film has many notable elements; obviously Nosferatu himself, the various settings and landscapes, and the fundamental role of the music. It opens with ‘Brüder des Schattens’, a hymnal vocal piece played over shots of skulls and mummified bodies. Other songs include ‘Höre der du wagst’, a poignant piece played as Lucy prepares to sacrifice herself to Nosferatu. Throughout, the band uses an unconventional mix of instruments, at times incorporating sitar to produce an ethereal droning noise. Popol Vuh does not distract from the film’s visuals, rather, it enhances them. In fact, the film is largely filled with drawn out, stifling silences, with the score coming in at just the right time. As well as Popol Vuh’s music, the film features an unnerving scene in which Lucy walks through a dance macabre, while an uncanny plainchant plays in the background. It also uses Richard Wagner’s ‘Das Rheingold’ in one of the most visually striking scenes: Harker’s journey to Nosferatu’s castle. The piece goes hand in hand with the gorgeous cinematography and mountainous landscapes. These meditative scenes are reminiscent of 19th century Romanticism, and combined with the music evoke awe and terror.
5) The Green Knight (David Lowery, 2021)
Not quite a horror film, but this mediaeval fantasy film is a dark twist on the Middle English poem Sir Gawain and the Green Knight. Daniel Hart researched extensively into mediaeval music and language to make it as authentic as possible. He uses period instruments such as recorders and harps, paired with violins, synths and vocals singing Middle English lyrics. The score is lengthy and labyrinthine, so I will keep it brief and just mention a few songs. The opening song ‘In Stori Stif and Stronge’ is a quote from the source poem, meaning ‘strange things, sadness and strife.’ With long pauses followed by fast high pitched chaos and singing, the song’s jumpscare quality makes it a great opener. Gawain’s theme, ‘Christ Is Born Inded,’ starts with a lively melody that becomes unhinged, leaving us unsure where the song is going. When the Green Knight enters the court and challenges Sir Gawain, ‘One Year Hence’ plays; it’s an evocative piece that captures the otherworldly nature of the Green Knight, as well as Gawain’s fear. King Arthur also has his own theme. ‘O Greatest of Kings’ is much gloomier than we’d expect for an introduction to the legendary king, indicating how this film subverts narrative stereotypes. It closes with ‘Be Merry, Swete Lorde’, the title almost comical considering Gawain’s imminent death. The upbeat song is as unexpected as the ending itself, as if rejoicing in his demise. This turbulent score provides an epic soundtrack for the hero’s - or anti-hero’s - journey.
4) A Clockwork Orange (Stanley Kubrick, 1971)
Wendy Carlos’ score for A Clockwork Orange is a bizarre mix of classical and original electronic compositions. Already famous for her album Switched-On Bach, a collection of electronic renditions of classical music, Carlos was perfect for Kubrik’s dystopian classic. Her score aptly reflects protagonist Alex DeLarge’s obsession with classical music, notably Ludwig Van Beethoven. Thus, it becomes the soundtrack to his dark fantasies of ‘ultraviolence.’ Often, the inclusion of classical music - as with Gioachino Rossini’s ‘The Thieving Magpie’ and Beethoven’s ‘Ode To Joy’ - gives the film a whimsical, celebratory feel. Other times, it has the complete opposite effect. The film opens with a genius synthesised rendition of ‘Music for the Funeral of Queen Mary’, originally by Henry Purcell, while Alex stares into our souls for two minutes. It is doom-laden and unnerving, reflecting its macabre origins. The famous Ludovico scene features Beethoven's ‘Ninth Symphony’, using a vocoder to create an electronic vocal rendition of the piece. Carlos perfectly blends classical music with the hostile dystopian future setting, creating a sort of temporal disorientation. Her score is undeniably ‘horrorshow’ (good), and her version of ‘Funeral for Queen Mary’ is still one of my favourite scores ever written.
3) The Wicker Man (Robin Hardy, 1973)
Hardy’s folk horror film tells the story of Sergeant Howie investigating the report of a missing girl. The investigation brings him into contact with a pagan cult who eventually sacrifices him. Paul Giovannis’s score for the film was highly influenced by his research into folk tradition. Making use of a diegetic score, his music forms an integral part of the narrative, often resembling a musical instead of a film. The score is a mix of original and traditional music, making reference to the 13th century song ‘Sumer is Icumen In’ and the nursery rhyme ‘Oranges and Lemons.’ Highlights from the film include the accordion driven bawdy humour of ‘The Landlord’s Daughter’, which, while entertaining, hints at darker things to come. This is soon followed by ‘Maypole,’ a ballad about the Mayday festivities that features a nice violin interlude and even a jaw harp. The song’s jolly facade becomes slightly creepy as we see a group of children dancing round the maypole while singing in unison. One of the most famous tracks from the film, ‘Willow’s Song,’ has been covered by many bands such as The Mock Turtles, Doves, and Faith And The Muse. The song’s atmospheric guitar and coy vocals are strangely comforting considering the scene it accompanies. A song I particularly liked from the score was ‘Searching for Rowan,’ which unsurprisingly plays over Howie’s search for the missing girl. The use of organ and a guitar solo gives it an almost bluesy, psychedelic feel. The film ends with a haunting sing along from the cult as they watch the Wicker Man (with Howie inside of it) burn. Giovanni’s score at once provides relief to Howie’s solemn demeanour throughout the film, and hints at the disturbing events round the corner.
2) Midsommar (Ari Aster, 2019)
Ari Aster’s folk horror film is known for its striking visuals and graphic scenes, but its score also stands out. After obsessively listening to artist The Haxan Cloak (real name Bobby Krlic), Aster knew who he wanted to compose the score. Krlic took inspiration from Nordic folk music to produce a diegetic score in the spirit of The Wicker Man. It features wordless, atonal singing, and traditional Nordic instruments such as the hurdy gurdy to evoke these ancient roots. In some ways the score uses conventional horror tropes, such as the dissonance in ‘Gassed’, and fast, high-pitched violin trills in ‘Harga Collapsing.’ However in many ways, it subverts horror tropes, much like the film itself. For instance, tracks like ‘The House That Harga Built’ and ‘The Blessing’ are stunning orchestral compositions. A highlight of the score for me was ‘Fire Temple’, a nine minute long piece that plays over the film’s closing scene. Motifs hinted at in ‘The House That Harga Built’ are now explored and expanded. The piece is strangely relaxing considering the events taking place. It uses melodic flourishes on the violin which, when contrasted with the scene, stimulate ethereal chaos. That menacing undertone of fear is what makes the track sublime yet disturbing, much like the allure of the Harga cult. After two and a half hours of bizarre and horrific events, this piece offers the film a warped resolution and the viewer a kind of emotional catharsis.
1) Hereditary (Ari Aster, 2018)
I will conclude with another Aster film and my personal favourite - Hereditary. Composed by Colin Stetson - a multi-instrumentalist who has previously collaborated with bands like Bon Iver and Arcade Fire - the score was one of the main things that struck me about the film and has drawn me back to it time and time again. It is atypical of horror film scores, in that it doesn’t draw much attention to itself. Interestingly, Stetson doesn’t use music to engender fear; in fact, some of the most horrific scenes are silent. The score generally doesn’t intrude until the finale. Without talking too much about the film itself, Stetson’s research into the lore of Paimon massively influenced his composition. In The Lesser Key of Solomon, a 17th century book on sorcery, the spirit Paimon is said to be heralded with trumpets. What’s more, the name itself comes from the Hebrew word for ‘tinkling bell’. This research is perfectly utilised on the track ‘Reborn’, which plays towards the end of the film. Using clarinet, trumpet, saxophone, strings and bells, Stetson creates an epic and mesmeric piece of music. Recalling classical music in its use of overlapping melodies, the song has an almost Wagner-esque quality, in particular the aforementioned ‘Das Rheingold’. Yet the track is deceptively uplifting. Accompanied by deep, droning bass notes, it carries with it an unsettling undertone that cannot be ignored. Stetson also features more unusual instrumentation; the track’s main melodic line is played on a wind instrument called the lyricon, creating an unnerving wailing sound. The horror of this ‘coronation’ scene is largely dependent on the music. The song is so at odds with the on-screen events, making it all the more disturbing. It is at once triumphant and apocalyptic, making for an uncomfortable listen.
Whether you’re a horror fan or not, you’ll likely have heard one of these tracks at some point this month. Why not finish off your Halloween celebrations by revisiting these classics - or your personal favourite horror films; try paying close attention to their soundtracks, or even just play them as background music at your next Halloween party.