There are a handful of things that can turn a memorable horror movie into an iconic one: a thrilling and original conceit, a franchise-worthy serial killer, and jaw-dropping effects come to mind. But an all-important element of a successful horror movie is one that can’t be gleaned from posters and casting reports, or even most trailers. The score of a horror movie, from a memorable theme, to an atmospheric enhancement of scenes, right down to the closing credits, can elevate a good film to a great one, with the best standing the test of time.
With that in mind, the Collider staff has put together 20 of the best horror movie soundtracks of all time. Composer names range fromJames Horner,Danny Elfman, andPhilip Glass, to the one-word monikers ofGoblin,Magnet, andDisasterpeace. While we’ve covered quite a few decades here, there’s a good chance we missed your favorite horror movie score, but there’s an even better chance that we’ve covered some you’ve never even heard of. You might even want to add a few to your Halloween party soundtrack! Check them all out below (in no particular order).
Related:The Greatest Movie Soundtracks of All Time
Hellraiser
Composer:Christopher Young
Hellraiseris a peculiar, freakish viewing experience.Clive Barker’s curious concoction is pure grimy lasciviousness. The Lament Configuration, a magical puzzle box, summons nightmarish, otherworldly sadomasochists to deliver the ultimate sexual experience for those who like it really, really rough. The sex, the pain, the pleasure, and the thrills are all mixed up in one lurid, phantasmagorical dance of death. That dark fantasy is strengthened by the sweeping score from Christopher Young, the composer who also delivered the haunting and horrifying tracks forThe Exorcism of Emily RoseandSinister.TheHellraisersoundtrack invites you to join the kinky debaucher with a deceptively gentle, inviting hook that crescendos in alternately melodious and discordant tones; bells chiming as the Cenobite’s dark, disturbing fantasy bleeds into reality. -Haleigh Foutch
Halloween (1978)
Composer:John Carpenter
When you think about Halloween movie soundtracks, the repetitive yet haunting melody of Carpenter’s originalHalloweenshould be one of the first things that comes to mind. Most folks probably know Carpenter’s name as an accomplished writer and director, but perhaps less well known is the fact that he’s done a fair bit of musical work as well. Out of his 35 soundtrack credits, theHalloweentheme is easily his most recognizable and often used, and it all started here. –Dave Trumbore
City of the Living Dead
Composer:Fabio Frizzi
As synthesizers became all the rage in horror scores, many became indistinguishable. But Italian zombie maestroLucio Fulci’s composer of choice, Frizzi, used synthesizers sparingly. Taking cues from 70s exploitation and giallo films, Frizzi’sCity of the Living Deadscore mixes sexy guitars, choirs, and wood and brass instruments over the top of his haunting synth.City of the Living Deadis a big, full score; it flows like blood, and there is a very healthy plasticity in these veins.- Brian Formo
Composer:Goblin
Is there a creepier horror movie soundtrack than the one forSuspiria,the 70s cult classic by Italian horror maestroDario Argento? There are chants of “Witch!” and inconceivable whisperings scattered throughout this Goblin-composed score that paint the haunted red hallways of the occult ballet school (one that casually has a room full of barbed wires, might I add). The title track is a creepy classic, with atmospheric chimes that’ll make you look over your shoulder with every step, but the Italian prog-rock band also dives into manic synths and percussions that call to mind ritualistic ceremonies. Even the delightful little piano number is the stuff of nightmares.
Argento had originally called in composerGiorgio Gaslinito do the score, but hated the cues, and asked Goblin to perform it in their style. Still hating it, Argento asked Goblin’sClaudio Simonettito write the score and record it in a day. The result? One of the greatest horror soundtracks, ever.– Kristen Yoonsoo Kim
Composer:Philip Glass
Candymanis not your standard slasher film. It’s mature and languid; a slow-moving, poetic spookiness that blends romance, history and urban legend with erudite precision. As such, it was a fitting and ingenious move to recruit Philip Glass, one of the most revered and influential composers of the last century to score the film. Glass uses droning organs and chanting chorals that invoke a dreadful, hypnotic sense of ritual – fitting to the Bloody Mary-inspired myth of the Candyman. It’s alternately unnerving and mesmerizing, always commanding, and occasionally downright elegant with an ever-present sense of despair. -Haleigh Foutch
The Exorcist
Composer:Lalo Schifrin,Mike Oldfield“Tubular Bells” (1973),Steve Boeddeker(2000 version)
The music ofThe Exorcistwas likely overshadowed by the film’s mature content and pea soup-spewing effects at the time of its release, but the theme continues to be widely recognized today. Lalo Schifrin’s work on the score was originally rejected by directorWilliam Friedkin, partly due to studio pressure to tone the music down after it scared audiences a bit too much. The score ended up being composed of then-modern classical compositions, with the most famous being Oldfield’s 1973 piece “Tubular Bells” which was sampled for the theme. –Dave Trumbore
Daughters of Darkness
Composer:Francois de Roubaix
Released in the same year asJesus Franco’sVampyros Lesbos, this Belgian lesbian vampire film is the complete opposite in storytelling and musical approach. Franco’s score is swingin’ fun lounge funk that accompanies a jazzy sex flick, with a very low emphasis on vampirism.Harry Kümel’s film is also stylish, but it is extremely poised, sophisticated, and keeps a mystery throughout.Daughters of Darknessis a truly undervalued horror film—with a gem of a score from de Roubaix, who passed away a few years later, at the ripe age of 36, just entering his prime as a composer.
The score toDaughters of Darknessexpertly melds Old World Baroque with New World open sexuality. It transitions from harpsichord, strings, and harps to deep bass drums, wild sticks, and patient brass. It is skeptical of the old world, and embraces the sexy new one. With that sly, slow mix of seduction and hesitation, it’s no wonder one ofDaughtersthemes wassampled byLil Wayne.- Brian Formo
The Wicker Man (1973)
Composer:Paul Giovanni, Magnet
On the off chance that you haven’t seenThe Wicker Manyet (for shame), I will be very vague. Much like the film itself,Paul Giovanni’sThe Wicker Manscore doesn’t announce itself as a horror. Indeed, if you were to take the jaunty shanties and lulling nursery rhymes without the accompanying narrative, you might never know it was a horror score at all. Which makes it all the scarier. When the lilting, cheerful tunes meet the eerie and eventually horrific narrative, the juxtaposition is a haunting discordance that lingers with you long after the film ends. Much like the inhabitants ofThe Wicker Man’s remote island, Giovanni’s score is deceptively simple and lackadaisical with a folksy glee that is jubilant in the face of your torment. You’ll walk away from the film with a pit in your stomach and a merry tune scorched in your mind. -Haleigh Foutch
Tim Burton’s The Nightmare before Christmas
Composer:Danny Elfman
Elfman’s four Oscar nominations may have come for his musical work on live-action pictures, but for my money his most entertaining achievement by far comes fromTim Burton’s The Nightmare before Christmas. Sure, his themes forThe SimpsonsandBatman: The Animated Seriesmight be more instantly recognizable, but how often do you find yourself singing them around the holidays? This entry in our list stands out as a soundtrack that you and the whole family can belt out in the car while delighting in the driving rhythm of “This Is Halloween”, the infectious repetition of “What’s This?” or the funky flow of “Oogie Boogie’s Song.” Henry Selick’s film may bring out the inherent darkness of Halloween, but Elfman’s score bringsThe Nightmare before Christmasto life. (Bonus Trivia: Elfman also provided Jack’s singing voice!) –Dave Trumbore
Halloween III: Season of the Witch
Composers:John CarpenterandAlan Howarth
Carpenter’s score forHalloweenis the most famous and most oft-imitated horror film score. The fast but delicate piano score is the most likely to play on a loop at a costume party, or when you escort trick-or-treaters to various houses. It is iconic— and it perfectly accompanies thebest film in the series—but for me, the best John Carpenter score of all time is in the thirdHalloweenfilm,The Season of the Witch. Carpenter retooled the original 1978 score frequently, but this is the one that expands beyond the creepy lullaby piano theme. ForSeason of the Witch, Carpenter and Howarth surrounded the piano keys with very heavy synths, and the original theme music became much heavier and denser.
Carpenter and Howarth had co-scored two films together prior (Halloween IIandEscape from New York), butHalloween IIIwas the first time that they were able to compose the film while watching it together. And this film would greatly influence their elaborate synth soundscape on their next horror collaboration,Prince of Darkness.- Brian Formo
