The 10 most underrated horror movie soundtracks
As October rolls around once again, with Halloween just weeks away, there couldn’t be a better time to indulge in horror movies, from classic slashers to modern psychological thrillers. Whether you’re a fan of the genre or couldn’t be less interested in getting your kicks from ghosts and gore, you’ll likely find yourself watching at least one scary movie this month.
However, a good soundtrack can make or break a horror movie, adding to the suspense and heightening the tension or completely ruining the film with sonic cliches. Some of the best horror movies are noted for their fantastic soundtracks, such as Halloween or The Shining.
Yet, many fantastic horror scores have slipped under the radar or have failed to receive the attention they deserve. There are countless obscure and underappreciated soundtracks out there waiting to soundtrack this spooky season, although be warned, some are considerably more eerie than others.
From the progressive rock stylings of Libra’s 1977 score to Mario Bava’s Shock to the David Lynch-penned tracks from Inland Empire, here are ten underrated horror scores perfect for October listening.
10 underrated horror soundtracks:
Berberian Sound Studio – Broadcast
Peter Strickland’s Berberian Sound Studio is a unique horror which pays homage to Italian giallo without simply becoming a cheap imitation. In the film, Toby Jones plays a British sound engineer who is employed to work on the soundtrack of an Italian horror he mistakenly believes to be a film about equestrianism. Soon, his mind spirals out of control as he involves himself too deeply with the movie.
The soundtrack was provided by the British band Broadcast, known for their unique brand of psychedelic, early electronic-influenced sound. However, for Berberian Sound Studio, the band took inspiration from Italian and Czech horror scores, blending haunting synths with classic instruments like flutes and organs.
The Blood on Satan’s Claw – Marc Wilkinson
Who doesn’t love a British folk horror from the 1970s? Predating The Wicker Man by two years, The Blood on Satan’s Claw might not be as good, but it’s still a must-see for fans of the sub-genre. The film is set in early 18th-century England, where young people appear to be possessed, wreaking havoc on the town and its inhabitants. Since its release in 1971, the film has become a cult classic, noted for its evocative atmosphere and terrific score.
The soundtrack was created by Marc Wilkinson and features a perfect array of classic folk-inspired sounds intertwined with eerie synths and intense strings. By blending the two, the score helps to expose the corruption that can emerge from the natural world.
Cannibal Holocaust – Riz Ortolani
Few films have caused as much controversy as Cannibal Holocaust, directed by Ruggero Deodato and Gianfranco Clerici. It was hit with accusations of being a real snuff film, as well as being heavily criticised for its depiction of genuine animal cruelty. The film was banned in many countries, and Deodato was even arrested and accused of murder, abuse and obscenity.
However, this has often led people to overlook one of the film’s most spectacular assets, its soundtrack. Scored by the Italian composer Riz Ortolani, the music in Cannibal Holocaust is often very beautiful and, at other times, rather funky. If the film seems too much to stomach, don’t rule out a listen to the soundtrack.
The Fifth Cord – Ennio Morricone
While Ennio Morricone is hardly an underrated composer, he has made so many scores in his vast career that many have – and certainly not for lack of quality – slipped under the radar. One of these is The Fifth Cord by Luigi Bazzoni, an Italian giallo starring Franco Nero. The murder mystery thriller follows a classic giallo style, with Nero playing a man who attempts to uncover the identity of a killer, only for the police to believe that it is him.
The score is truly terrifying, with the echoing female ‘La la’ refrains over high-pitched strings giving the score a particularly hair-raising quality. Tinkling keys and music box chimes also add to the soundtrack’s uneasiness, as do the Psycho-inspired stabbing strings demonstrated on cuts like ‘Punte d’ago’.
Inland Empire – David Lynch and others
Most of David Lynch’s films are scored by the late, great Angelo Badalamenti. However, the director decided to go off-piste for his 2006 experimental horror Inland Empire. Without a doubt, the most Lynchian of all of his movies, the three-hour-long Inland Empire is even a struggle for many die-hard fans of the filmmaker to digest.
While the score does include many pre-existing songs, from Nina Simone’s ‘Sinnerman’ to several pieces by Polish composer Krzysztof Penderecki, Lynch also created some of the songs himself. This includes ‘Polish Poem’, written by Lynch and Chrysta Bell, with the latter performing the track, and the surreal ‘Ghost of Love’, sung by Lynch.
In the Earth – Clint Mansell
Ben Wheatley’s 2021 horror stars Joel Fry as a scientist who sets out on a mission to reach a research hub in the Arboreal Forest while a killer virus rages. Written in response to the pandemic during the summer of 2020, the film captures the fear that was particularly prevalent that year.
Clint Mansell, ex-lead vocalist of Pop Will Eat Itself, helmed the score, having worked with Wheatley on previous projects such as High-Rise and Rebecca. Standout moments include the jittery synths of ‘Spirit of the Woods’ and the 80s-esque ‘The Mist’.
Shock – Libra
Mario Bava was one of the first directors to bring graphic violence to the horror genre with movies like Black Sunday and Blood and Black Lace. Dubbed as the ‘Master of Italian Horror’, Bava released his final movie, 1977’s Shock, before dying in 1980. The supernatural film focuses on a woman who gets caught up in strange happenings following the death of her husband.
As with many Italian horror movies, the score was created by a prog-rock band. The soundtrack for Shock was left in the hands of Libra, a band comprised of several ex-members of Goblin, who were best known for their collaborations with Dario Argento, most notably Suspiria. The soundtrack is a mind-bending, often chaotic, blend of humour and fear – one definitely worth checking out.
Under the Skin – Mica Levi
Jonathan Glazer’s 2014 sci-fi horror Under the Skin is easily one of the greatest films of the 21st century. The film stars Scarlett Johansson as an alien who disguises herself as a human woman, only to drive around the streets of Scotland preying on men. Once she finds her victims, she lures them towards a dark, otherworldly void to meet their demise.
Mica Levi, also known for their experimental pop music under the name Micachu, created the haunting score for Under the Skin, which is undoubtedly one of the most perfect horror scores ever made. From the pulsating intensity of tracks like ‘Mirror to Vortex’ to the screeching abyss evoked by ‘Lipstick to Void’, Levi’s soundtrack couldn’t be better suited for Glazer’s film.
Valerie and her Week of Wonders – Luboš Fišer
Jaromil Jireš’ Valerie and her Week of Wonders is an essential entry to the Czech New Wave. Released in 1970, the film follows an adolescent girl as she comes of age, finding herself in a bizarre folk horror nightmare full of lecherous, vampiric men. There is plenty of surreal and terrifying imagery to be found within the film that’ll linger in your mind long after viewing, especially the cloaked man with rotting teeth and powder-white skin.
The film’s score, provided by Luboš Fišer, is a pastoral nightmare with church bells, disorientating music box sounds, dramatic organs and children whispering in prayer, forming the crux of the album’s sound. Lulling us into a false sense of security with quaint clarinets and flutes, Fišer’s soundtrack often spikes with sounds of terror, keeping listeners on their toes.
The Witch – Mark Korven
2015’s The Witch gave rise to director Robert Eggers and Anya Taylor Joy, whose leading debut role kickstarted her career. The supernatural folk horror set in 1630s New England follows a Puritan family as their life turns upside down after they move to a new farm. At times grotesque and other times strangely humourous, The Witch is one of the 21st century’s most well-executed horrors.
The score was provided by Mark Korven, who used unconventional methods because Eggers “didn’t want any traditional harmony or melody in the score”. The result is tense and anxiety-inducing, from the rapturous ‘A Witch Stole Sam’ to the choral nightmare of ‘Caleb’s Seduction’.
