Goblin — “Suspiria” (1977)
Italian prog-rockers Goblin were the band for horror fans in the 1970s, their diverse and strangely danceable work accompanying a number of classics, including George Romero’s “Dawn Of The Dead.” But the band’s best-known work came in collaboration with giallo king Dario Argento, and while we love their droney, synth-tastic “Tenebrae” work (sampled by French electro titans Justice for their track “Phantom”), their finest hour is unquestionably via Argento’s best film “Suspiria,” about an American ballerina (Jessica Harper) tormented by a witch’s coven. Virtually unique among the band’s discography, let alone horror scores in general, the music sees Claudio Simonetti & co. take advantage of ethnic instruments like the tabla and bouzouki, almost subliminally eerie voices and a shitload of chimes along with their trademark synths. It’s completely freaky and enormously influential (one suspects that “Berberian Sound Studio” was influenced as much by Goblin’s work here as by Argento in general).
Howard Shore — “Videodrome” (1983)
“Subversive and perverse and unsettling without being obvious” is how David Cronenberg describes Shore’s score for his seminal “Videodrome” on the Criterion Collection commentary, and there’s no real arguing as such. Having scored all Cronenberg’s films bar “The Dead Zone,” Shore has subsequently won three Oscars (all for ‘Lord of the Rings‘ movies) and is probably now more known for immense, orchestral scores for Middle Earth or Martin Scorsese. But in his third time out as a film composer, he created an experimental classic in the horror genre in which the musical motifs mirror the devolution of the protagonist by starting orchestrally but being gradually subsumed by electronica. Of course, one would expect from Cronenberg that the music would work on this intellectual level, but Shore’s staticky, scratchy, scuzzy snatches and creeping drones counterpoint the warmth of the more traditional instrumentation on a visceral level as well, contributing to the sense, also embodied by Lynch‘s “Eraserhead,” of the score as more soundscape than standard cues and cuts.
Riz Ortolani — “Cannibal Holocaust” (1980)
You know that bit in “This is Spinal Tap” where Nigel Tufnel plays a romantic new piano composition, and when asked what it’s called, says “Lick My Love Pump?” You can re-enact the cinema soundtrack version of that gag IRL by playing Riz Ortolani’s main theme here to a neophyte —it’s a lush, lyrical, borderline syrupy sweetheart of a tune, all flute trills and pretty melodies that only a totally deranged mind could ever think appropriate for Ruggero Deodato‘s notoriously graphic Mondo-style exploitation horror. But then again, it’s hard to imagine what could be appropriate for the scenes of animal cruelty, gang rape and ritualistic murder that comprise the film’s most sensationalist moments, and it’s a problem Ortolani tackles by throwing everything in the mix —picnicky tunes, atonal disco beats and a strings-heavy classical-esque score. It’s not exactly holistic, but even taken individually the tracks are pretty great, occasionally lending even this grotty endeavor a layer of sophistication.
Ennio Morricone —”The Thing” (1982)
We’ve already discussed John Carpenter’s own compositions, but he also could inspire specialist collaborators to distinctly Carpenter-ian heights (or bassy, electro depths).
Here the incomparable, Oscar-winning Morricone created one of his most atypical scores: a barely-there background drone punctuated by a spartan electronic two-note motif lends a deeply uneasy edge to the film by constantly seeming to be on the verge of a crescendo that never quite comes. In 2011, Carpenter’s frequent musical collaborator Alan Howarth re-recorded Morricone’s compositions, occasionally bringing different elements to the fore and changing the instrumentation slightly. Both versions of the soundtrack are pretty stellar, maybe more Carpenter than Carpenter, with Howarth saying later that it had taken Morricone a few passes and a playing of the soundtrack to “Escape from New York” before he came up with a score the director accepted.
Bernard Herrmann — “Psycho” (1960)
Alfred Hitchcock‘s hall-of-fame “Psycho” broke a lot of ground in 1960, including with respect to horror scores. But as so often, it was limitation that released creativity: maestro Herrmann had to settle for a strings-only orchestra thanks to the picture’s low budget. Herrmann’s music is an incalculably large part of that unforgettable shower scene, but what makes it more remarkable is that Hitchcock’s original intention was to have no musical accompaniment therein —it was on the composer’s insistence that the director decided to use the iconically piercing clash of violins and violas. Cut to Herrmann’s name appearing right before Hitchcock’s in Saul Bass‘ opening credits. While Herrmann’s “Vertigo” score is another stunner, it’s “Psycho” that has influenced the horror music landscape most (Harry Manfredini’s “Friday the 13th” and Richard Band‘s “Re-Animator” theme come most readily to mind), remaining to this day a masterclass in sustained suspense with a most unusual addition: a real payoff.
Joseph Bishara\’s scary score for the scary Insidious…In a non-horror movie: Vivian Kubrick/Abigail Mead\’s music for Full Metal Jacket–creepier than many a horror score…
On of my favorites is Howard Shore\’s score for SILENCE OF THE LAMBS, which may tread whatever line divides thriller and horror, but what is more horrific than the truly plausible!
You dropped the ball on the comments too, because it wont let me post a link, but look up Zombie – Fabio Frizzi & Giorgio Cascio on Youtube and you\’ll see your grave error.
Really dropped the ball here guys, because this should have made your list.
Zombie 1979 Soundtrack
What about the themes from The Descent or 28 Days Later?
I came to see if the "Suspiria" soundtrack had been included. And it is. Well done! It gave me the creeps and it would not leave my head for weeks after watching the film.
Also, Martin, Donald Rubinstein and polanski\’s Macbeth, music by the Third Ear Band
Children shouldn\’t play with dead things, Carl Zittrer
No Christopher Young anywhere?
What about Hans Zimmer and his score for The Ring. One of the best soundtracks (for me).
SO glad you mentioned Session 9. In my top favourite soundtracks of ALL TIME.
Love the shout outs to Demons and The Fog. Highly underrated scores.
Also I love Suspira but I gotta go with Tenebrae as Argento\’s finest horror film score.
I honestly would have picked Goblin\’s score for \’Deep Red\’ over \’Suspiria\’. But they\’re both great!
Would also like to add Goblin/Argento team up for Deep Red, my personal favorite Dario Argento flick. One of the many reasons is the score, which doesn\’t heighten the tension so much as make everything more badass. Great movie.
Disasterpeace IS Rich Vreeland. Pick one or the other.
Excuse me, that was Pino Donaggio\’s score. Brain fart.
Surprised Morricone\’s CARRIE didn\’t make this list. One of the most effective (and genuinely beautiful) scores in the genre in my humble opinion. Maybe it somehow wasn\’t an original score…?
My favorites: The Other (1972), Magic (1978) Poltergeist (1982), Psycho 2 (1983) all brilliantly scored by Jerry Goldsmith. Brotherhood of Satan, Lisa and the Devil and Tourist Trap are a few others not mentioned.
Glad to see Under the Skin get a mention. That music was lemental to th film itself. Years ago, I watched the bizarre vampire movie Pale Blood and was completely taken by the goth soundtrack that included outstanding tracks from Agent Orange. Not likely original material for the film but it set a fantastic tone for the strange tak on the undead.
As glad as I was to see John Harrison get an honourable mention, I\’d put DAY OF THE DEAD above CREEPSHOW. DOTD might be my all time favourite score. Toe-tappin\’ zombie fun.
Colin Townes\’ score for Full Circle (aka The Haunting of Julia) is a fantastic score, one of my favorites. And Pino Donaggio\’s score for the original Carrie (1976) is great too.
Nice feature and some good choices – but one heads up: that photo accompanying "Cannibal Holocaust" is actually from "Jungle Holocaust," a different movie.
I\’m confused as to how Jaws can be deemed ineligible cause it\’s "not really horror", but then you have things like Eraserhead or Videodrome that are far more into the category of "dramatic thriller" than Jaws. But otherwise, it\’s a decent list, although the lack of Christopher Young is a head scratcher indeed.
Perfume by Tom Tykwer & Johnny Klimek & Reinhold Heil… Beauty that slowly descends into madness.