[31 Days of Halloween] Day 30: Best Score

Best Score


Suspiria (1977) is by far one of the best horror scores out there. It’s so great. There’s really not much to say more about it but that Goblin gut punches you with their musical creation and you won’t forget that theme. Witch….witch….witch. – Rachael Hauschild


Texas Chainsaw Massacre; when Leatherface drags that guy behind the big sliding door and you just hear that *thwack* sound as he beats the victim to a fucking pulp. No music, no screaming just a twitching leg and that wet sounding smack of the hammer. Yikes. – Mike Vlastnik


I have always loved Jerry Goldsmith’s score for The Omen. In the earlier scenes of the movie, it’s melodic and happy, even soothing. Then everything ramps up to 11 with “Ave Satani” and that crazy creepy choral singing, obviously matching the religious nature of the story. It all just works so perfectly with each scene. – Michele Eggen


Halloween takes the cake here for its’ startlingly simple and effectively terrifying score by John Carpenter, but another absolute wonder is Suspiria’s moody, choral-filled, Moog-heavy and spellbinding masterpiece. Honorable mention - Although not an original score, The Exorcist effectively uses previous works, including 20th century classical pieces, to terrifying effect, but it’s the perfectly used “Tubular Bells” track by Mike Oldfield that became known as the “theme,” helped scare the pants off of millions, and whose simplicity inspired John Carpenter’s Halloween score. (Reading assignment: look up the story of the rejected Exorcist soundtrack by “Mission:Impossible” theme composer Lalo Schifrin. William Friedkin is said to have literally thrown it out of a window. It’s fascinating). - Mary Morris


So many classics out there. Obviously, Halloween and Psycho are both massively effective and important. Disasterpiece crafted the ominous, synth heavy haunting soundtrack for It Follows and it’s become an instant favorite of mine. I love how the music lets you know that something is out there, looking for you, following. It’s such a callback to the best of the 80’s with a contemporary upgrade. - Ryan Larson