The Music Of Horror: Some of My Favorite Composers

 Today is Halloween, and I should make another Horror post. And so I will. With the topic this time being about the sounds. As much as I like my audio design in this genre, I did want to focus more on the composition side. Whether it's Movies, Television, or Games. Horror has pretty much always been on the ball with the creaks and crunches. But the one's that can nail the composition go much further for me than those that neglect or lack in this department. 

This opinion very much comes from my viewer monkey brain, and not with actual music expertise. So, some scores that sound great and move people, may not do it for me. This is all just to preface my very good opinions that no one is going to care about. But that's enough messing around, let's just dive right in.

What makes an exceptional Horror score for me? Well, it mostly comes down to the emotions of the scene, and the build-up in many ways. There's plenty of media in the Horror Space that feature very talented people working on the projects. So, I tend to like some more unique sounds than the same old, same old ones that are typical of the genre, or even the decade. Not to mention the issue with things taking place in specific time periods, where the events of a movie occur in the 1980s, yet the film doesn't evoke it properly. This goes into all aspects of design from audio to character. So, as a purveyor of Horror, it is very easy to see when the emulation feels paper thin. 

These issues have cropped up more in recent years with many nostalgic looks at previous eras. And I would say most of them just go for the vibe, and don't really commit to the presentation. But we're not here to critique, as much as we're here to celebrate when something gets done well. 

And what better way to start off than with Halloween (1978). I love the Slasher sub-genre of Horror, and John Carpenter's score, made in conjunction with Dan Wyman, is one of the reasons why. Listening back on it, you can hear the influences and the eventual influenced years later. There are these moments of piercing alerts that fill you with dread as The Shape makes his way through Haddonfield. But that's not to discount how you also get these more mysterious and inquisitive elements as heard with Laurie's Theme. Like, you have these moments of rest that get ramped up as The Shape enters. Making the score that much more effective. 

It also helps that the uniqueness of Halloween (1978) comes from its mystery and unending pursuit. Stopping a man is easy, but stopping an unyielding physical embodiment of evil is another thing. And what better way to transition from one Big Lumbering Man then with another. So, it's back to the Friday the 13th well I go.

This isn't a bad thing because I think one of the major standouts for Friday the 13th has always been the score by Harry Manfredini. From the original to Friday the 13th Part 6: Jason Lives, the series had a consistent sound. For me, that sound is foreboding, mysterious, and striking. Even in the quieter moments you have this sense of uneasiness because of how music typically gets used in the series. 

Manfredini mentions how the music would typically be associated with the killer when asked in behind the scenes footage and interviews. This is especially apparent in the first film, as many of the scored scenes are attached to deaths. This creates a condition for the audience to become more alert when the music gets cued in. So, the expectation then revolves around where's Pamela, or where's Jason hiding? It's all in the art of the setup, and Friday the 13th wouldn't be what it is without Harry Manfredini. 

I'm gonna round out my Live-Action Horror love with Dario Argento's Suspiria. A film that would not be nearly as good without the excellent soundtrack performed by the Italian Rock Band, Goblin (Members on the Film: Claudio Simonetti, Agostino Marangolo, Massimo Morante, and Fabio Pignatelli with Antonio Marangolo and Maurizio Guarini helping on a few tracks). While I have heard similar music to the Titular theme. I feel like there's not enough love for this soundtrack in the greater Horror Space. It nails the fantastical element really well. Breathing life into this Occult flick. While appropriately nailing the atmosphere of the human scenes, and then going buck wild in the tension filled Witch scenes. 

It works in the same way as the other titles mentioned, as the score works to cue the audience into the scene's atmosphere. Like, when running through the forest, I would get the sense that there was witchery afoot through the score alone, despite nothing tangible appearing on the screen. The build-up into the payoff really made Suspiria's score stand tall. But that's not to say that I think other scores in Dario Argento's films are lacking, but that they don't do it like Suspiria. 

Shifting away from Live-Action and going into Animation, I will be highlighting just two more works. That being Perfect Blue, and Chainsaw Man - The Movie: Reze Arc. So, I have talked a few times about Perfect Blue. A disturbing film that I can't stop thinking about. The scenes just replay in my head sometimes, and the accompanying score felt like it never left.  Masahiro Ikumi's composition nails every single awful feeling. This is definitely helped by the narrative design of the film along with the editing by Harutoshi Ogata. 

Every song in the movie feels haunting and uneasy. I am thoroughly impressed by how well this movie was made every time I watch it. I am immensely curious as to what the direct influences were for this film's score. The narrative premise obviously stemming from Yoshikazu Takeuchi's Perfect Blue: Complete Metamorphosis novel, but I just wonder how they landed on the sound of the film? This is something that can be sourced from interviews probably, yet I wish it was more common knowledge. It's just too on the nose when it comes to terror, inquisitiveness, and ultimately, suspense. 

And that line of thought carries over into Chainsaw Man - The Movie: Reze Arc because there are moments of absolutely dread and terror that reminded me a lot of what Masahiro Ikumi went with for Perfect Blue. With Chainsaw Man inherently being more action than suspense, it might be hard to sell the idea that Kensuke Ushio nailed many of the beats that a Horror scene should. But I think the scenes with the Typhoon Devil's Skin-Wanting Partner attacking Reze were exceptional, and helped to transition the audience into the sudden realization of what would transpire soon later on. 

Reze's rampage goes in a myriad of directions that see widespread carnage, and irreparable holes both physically and mentally. Granted, I wasn't in the same state of fear and suspense as with Perfect Blue, yet the switch-ups from a nice slow day into running for your life at mach speed really helped to sell the gravity of each situation. I have liked Kensuke Ushio's worked for a while, but this to me feels like the best so far. Just a perfect microcosm of chaoticness, love, and despair. 

And that's all for today. A collection of Horror Music and their Composers that don't get enough credit for helping complete each scene they're a part of. The great thing about this, is that there are so many talented musicians that work on Horror Media. Like, I only covered popular films. I didn't even cover any games. Needless to say, there's a wide scope out there, just gotta give it the light of day. 

And remember to Free Palestine, Free Congo, Free Sudan, Free Venezuela and to Free Lebanon from the onslaught of their oppressors. Never stop talking about them. They think that we don't care, but we see everything. Never forget that. They are trying to suppress our voices because they matter, remember that. There may have been a ceasefire in Gaza, but Palestine still needs to be completely free.