10 Experimental Soundtracks from Classic (and Cult Classic) Horror Movies

Nicole Basham
20 hours ago
6 min read

It's Oscar season, A.K.A. the perfect time of year to brush up on your film history. We've had a lot of horror nominees this year, particularly with regards to their soundtracks. However, horror movies didn't always sound the way they do now. And if you love strange music and old school horror movies, keep reading to discover 10 soundtracks that revolutionized the sound of fear and and introduced new genres of music to theaters around the world. Explore everything eerie from orchestral music from the 1960s, to progressive rock of the 1970s, to contemporary House and EDM, all featured in spooky films that are guaranteed to add some uncanny entertainment to your night.

Psycho - 1960; Directed by Alfred Hitchcock, Soundtrack by Bernard Herrman

One of the first slasher films, Psycho helped lay the foundation for what horror movie music is today. The sharp, piercing violins built suspense and paved the way for the bursts of eerie synths seen in 80s and 90s horror classics. Psycho was an early example of a composer using bass to mimic the beating of a human heart and fully immerse the audience not only in the emotions of the main character, but their physiology as well.

House - 1977; Directed by Nobuhiko Obayashi, Soundtrack by Godiego

If you don't think of twanging and rhythmic guitars when you think horror, then perhaps the cult classic 1977 Japanese art flick House can change your mind. The lighthearted bursts of progressive rock match the often uncannily bright tone of the movie. There is also a recurring, haunting melody that is reworked in several of the score's tracks and originates from the main character, Gorgeous', wind-up music box. The soundtrack beautifully balances sentiment, humor, and a sense of adventure that makes this surreal, experimental film work and plays well with the cast of youthful, largely amateur, actors.

Suspiria - 1977; Directed by Dario Argento, Soundtrack by Goblin

It's interesting that, in 1977 alone, two very different progressive rock bands made such an indelible mark on horror movie music history. Goblin's soundtrack for the original Suspiria film is frequently cited as both a fan and critic favorite. The songs combine disparate synth tones, irregular bursts of percussions, and a twinkling background of bells. The film is similarly unusual, with the blood in the film appearing blatantly artificial. The backgrounds showcase bold art deco designs in bright primary colors, and the lighting is often heavily tinted in jewel-toned hues. Both the film and soundtrack are highly experimental, prizing expressionism over realism and ensuring an unforgettable cinematic experience.

The Fog - 1980; Directed and Scored by John Carpenter

John Carpenter scored several of his own movies, but one of my personal favorites is The Fog. The atmospheric synth soundtrack pairs perfectly with scenes of the small, Northern California coastal town being overrun with a mysterious, not to mention deadly, fog. The songs are more mellow that one might expect for the genre, relying on a slow build up of suspense and mystery rather than jump scares. The plot centers around Adrienne Barbeau's character, Stevie Wayne, a single mother who DJs for and single-handedly runs the local radio station located in a light house. The film mixes diegetic and non-diegetic sounds using the radio show and Stevie's smooth-talking airwave persona on KAB Antonio Bay, although the broadcast soon turns into a lifeline for those trying to escape the glowing fog. The 80s retro vibes are impeccable, and the nighttime photography featuring stills of gas stations, coastline freeways, and, of course, the lighthouse lend the perfect backdrop for the eerie synths.

**John Carpenter Behind-the-Scenes with Adrienne Barbeau, Janet Leigh, and Jamie Lee Curtis**

Demon Pond - 1979; Directed by Masahiro Shinoda, Soundtrack by Isao Tomita

I had never watched or heard of Demon Pond until I was recently browsing the Criterion Channel and the unique plot description caught my eye. I was instantly captivated by the trippy visual style and Isao Tomita's twinkling, synth-heavy tracks. His reimagining of Debussy's "Clair de Lune" brings life to the fantastical underwater world depicted in the film and helps bring a sense of beauty and cohesion to a bizarre movie (that I would absolutely recommend). If you love dreamy, atmospheric synth tracks, especially ones that create a sense of immersive surreality, definitely give the full soundtrack a listen.

The Texas Chainsaw Massacre - 1974; Directed by Tobe Hooper, Sountrack by Tobe Hooper and Wayne Bell

The Texas Chainsaw Massacre soundtrack by director Tobe Hooper and collaborator Wayne Bell cements the film's DIY, raw aesthetic. The soundtrack is often described as industrial or musique concrète as it utilizes non-instrumental sounds, such as metallic clanging and warped noises, that blend with the consistent buzzing of the chainsaws and screams from the unfortunate teenagers. The score is harsh, unnerving, and gritty, and helped to elevate the low-budget film from a cult classic to a classic and revolutionized ideas of what was possible sonically in the genre.

A Nightmare on Elm Street - 1984; Directed by Wes Craven, Soundtrack by Charles Bernstein

A Nightmare on Elm Street is perhaps my favorite horror movie of all time, particularly with its dream sequences. The surreal set design and lighting create the visual language of a dream, but the vibe would be entirely different without the soundtrack. Heavy synths create the dreamy textures of these moments, while maintaining a fast-paced beat for scenes in which characters are chased by Freddy in their nightmares. The resulting disorientation and adrenaline produces the nightmare feeling that lingers after the wake.

The Neon Demon - 2016; Directed by Nicolas Winding Refn, Soundtrack by Julian Winding

From the opening credits, the synth soundtrack is a central component of The Neon Demons. When I initially began to research the most highly rated synth horror soundtracks, I recognized most of the usual suspects, but I also saw many, many recommendations for Julian Winding's soundtrack for The Neon Demon. And, after watching the film, I certainly see why. Many songs sound like they would be right at home in the club, but with a slightly sinister twist. House beats sync to the frenetic cuts of vibrant club scenes. Slow, ominous synths back scenes of the Hollywood hills at evening time and exploitative photo shoots. Most of the tracks really do sound exactly like he crossed trance runway music with an eerie pipe organ-esque synth. While watching the movie for the first time, I found it to be an uncanny look at how exploitation and violence are often wrongly socially legitimized, even by women, to rebuke female vanity and ambition. The movie feels like art house cinema was crossed with a Lifetime movie, and I really enjoyed the effect it created.

Videodrome - 1982; Directed by David Cronenberg, Soundtrack by Howard Shore

Videodrome is hands-down the best Cronenberg body horror movie, in my humble opinion. For music buffs, Debbie Harry of Blondie shines as the female lead in this parable about the potential dangers of digital technology as digitized voyeurism becomes popular. As fantasy and reality, videotapes and real life become increasingly blurred for the main character, he begins to realize the violent snuff films he pirates from his television station are actually real and unsimulated. He decides to track down the source of the mysterious Videodrome broadcast, only to find that the feed is hypnotic and kills those who would watch the content. The soundtrack is rife with laser sounds and energetic beats that match the surreal, techno-horror aesthetic of the film. The movie asks the increasingly relevant question: at what point do the worlds we immerse ourselves in become our reality? Long live the new flesh.

Scream - 1996; Directed by Wes Craven, Soundtrack by Various Artists

I have focused exclusively on instrumental tracks so far in this article, but Scream is definitely a comfort movie for me. After watching it as many times as I have, I simply couldn't exclude it from this list. The soundtrack is definitely an element that keeps me coming back for more. From Birdbrain's "Youth of America" to Nick Cave's "Red Right Hand," the movie captures the youth culture of the 90s and the growing sense of disillusionment and desire for countercultural experimentation that just might lead someone to terrorize and murder their friends for fun. "Red Right Hand" appears in almost all of the Scream movies and functions as a theme song for the masked killer, Ghostface. The slow, jazzy beat, the guitar riff reminiscent of 60s psychedelia, the singular synth rising and falling through the background, and the occasional barrages of organ chords make this one of the most recognizable horror character themes of all time. However, my favorite use of music in the film is the insertion of the post-punk "Youth of America" as the core group of characters arrive at the farmhouse where the final bloodbath will take place. The deluge of guitars and moody, subdued opening vocals build excitement for the final act and help create a sense of deeper moral contemplation of the meta-horror subject material.

"Say a prayer for the youth of America / God bless our youth, America / And I can't stand this anymore / All the dead kids lying on your door / And you don't hear a word they're telling ya /. You're all dead / You're all dead / You've been wasted"