In this episode you'll learn • How horror soundtracks evolved over time • The influence of experimental music on horror cinema • Why dissonance creates psychological tension • How sound design and music became interconnected #HorrorSoundtrack #HorrorMusic #FilmMusic youtu.be/oh2VO0DgVOk

Why Modern Horror Sounds So Un...

"Schatten über Innsmouth" von #Lovecraft wird nie alt. Hier eine Dungeon Synth-Version : #dungeonsynth #hypnos #cosmicnightmares #horror #cosmichorror #Cosmic #horrorsoundtrack: http://www.popmonitor.de/hypnos-cosmic-nightmares-the-shadow-over-innsmouth/

This is where we start to revert score-wise to the original NoES. Gone are the lush scores of Charles Young and, I gotta be honest here, I’m a little torn.

The original NoES score is iconic. It’s moody and spooky and definitely of the time. But I discovered through listening to these that I actually REALLY like hearing wildly different scores for the movies. They give them such a unique flavor and, kind of like the movies, the religion of everything starts to weigh the franchise down.

I like NoES 3. I am solidly a 1, 2, 3, and New Nightmare kind of guy. 4-6 were wildly weak, derivative, and don’t stand up to multiple viewings. At least for me. Maybe if New Line had given writers time to make better scripts or invested a little more money into the #1 cash crop, but no. By then they were just cranking them out as fast as they could and it shows.

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The story goes something like this: Christopher Young, seeing the script and budget of the movie knows odds are low that the movie’s going to be very good so he goes all out writing a HUGE score to try to compensate. And when he runs out of budget for it, he uses his own money to finish it off.

If this is true, it’s very thoughtful of him.

NoES 2: Freddy’s Revenge is a weird one. Franchises as we know them today - hell, as NoES helped establish - weren’t really a thing yet so there was less emphasis on the rules of the universe.

The vibe here was “Writer, it’s about a child predator that kills teens in their dreams,” and they just let him go from there.

And for the longest time, this was considered the worst entry - an unfair opinion (we’re just going to blow past Freddy’s Dead?) but a VERY common one.

Because it was gay.

The kills are good, the body yea formation is good, the story’s good.

There were issues with the idea that a small guy running around in the real world, even with finger knives, could kill so many young and fit people, but the core complaint was the underlying homosexuality of the characters.

Personally, I wish they had leaned in way more and had Jessie realize he was gay. It would have made his friend’s death so much more impactful and fleshed out his character more because, as it stands, he’s pretty damn gay until the last five minutes or so.

But it was the 80s, you know? If you wanted your horror movie to… make a killing (heh) at the box office, you maybe don’t lean so far into what was considered a niche audience.

At least NoES 2 is getting reevaluated by fresh eyes and is finally getting the appreciation it always deserved.

AND the score is great!

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It gets cold and rainy here in Germany during the fall/winter and the train station is a walk that’s a few miles away.

I like it. Walking is good for me and I like to see the countryside.

But I REALLY like walking in the rain with some super moody, super synth-heavy score playing in my ears.

I don’t know. It just fits.

People talk a lot of shit about this movie, but I really liked it. It felt like the end - the unequivocal end. No arguments about this one. No swapped-out paramedic, no climbing out of a collapsed mine into a stream, no being rescued by men in black.

There is no argument that this is the end of Michael Myers without ignoring this trilogy as a whole.

Which I’m sure is what they’ll do.

While Halloween Kills was heavy-handed, I really liked the concept of a town becoming a mob. Feels natural. And, with Ends, I liked how a basically decided that they needed SOMEONE to hate just to make themselves feel better and I loved how they all decided en masse to let that shit go and move on.

It’s a good ending. With a couple weird moments, I’ll admit.

But the score? Fantastic. I love it when composers build a score that is meant to be played as one piece of music. It gives the album a much more cohesive feel and increased my enjoyment exponentially. And it’s John Carpenter. Come on. Dude’s a legend in the studio.

Say what you will about the inaccurate mining of 80s nostalgia that’s been going on for a long time now, but I absolutely LOVE that everyone is reaching for synth scores to be the soundtracks.

It’s a great time to be alive and walking in the cold rain to the train station.

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