01 The Canal Poster02 Horns Poster03 Sharknado Poster04 Sharknado 2 Poster05 Stonehearst Asylum Poster

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Nothing says it's the Halloween season like a horror movie on the screen or dark tunes coming from the speakers, and Lakeshore Records is helping with the latter with some dark soundtrack releases this month. Check them out! 


The Canal Cover

The Canal: Original Score


Available now digitally is Ceiri Torjussen's (Test, Big Ass Spider) score for The Canal.


"Ivan [director of The Canal] had two requests for my score to The Canal. First, to make the musical instruments largely unrecognizable and second, to do this without relying on electronic sounds. To make acoustic music that came from a world beyond the concert hall or studio," says Torjussen. "The film called for strange noises and disturbing whispers, deriving from the organic roots of the wood, stings, keys and breath of each instrument."


Horns CoverBuy Amazon Us Mp3

Horns: Original Motion Picture Score


Hitting digitally October 14th and CD November 11th is the score for Horns by ROB (Maniac, Populaire).


"This was my second experience working with Alex Aja [director]," explained ROB. "We had so much fun on Maniac, and we get along so naturally, so it was a real pleasure to be chosen for Horns. It was very challenging at the same time, because we had to create something totally new and different."


ROB continued, "I think the fact that we are the same age, and come from the same background helps us to create together very naturally, without having to explain everything. We share the same sensitive vision of darkness and fear, something very that's both naïve and innocent."


Sharknado CoverBuy Amazon Us Mp3
Sharknado 2 CoverBuy Amazon Us Mp3

Sharknado: Original Motion Picture Soundtrack | Sharknado 2: The Second One: Original Motion Picture Soundtrack


Also arriving digitally October 14th and on CD November 11th are a the soundtracks from Sharknado (composed by Ramin Kousha) and Sharknado 2: The Second One (composed by Chris Ridenhour and Christopher Cano).


On Sharknado:


"There were textural and melodic themes used throughout the films that were established early on the process of scoring and can be heard throughout the score," described Kousha. "Melodic elements were not as important as the textural items. It was more important to create a mood for the film rather then specific characters."


On Sharknado 2: The Second One:


For the sequel, "Anthony [Ferrante, director] wanted a classic score with traditional themes and big epic action moments," said Ridenhour. "We wanted a fresh start and created a score that established new themes for the characters and a more epic overall feel throughout."


"I felt that the opening scene on the plane really set the stage for the film," said Cano. "The music that Chris Ridenhour wrote for that scene really knocked it out of the park for me as well. Sharknado 2 has a much bigger feel to me, probably because of it being in New York. For my cues I just focused on what seemed right for the sequel."


"That whole scene is almost a small movie unto itself and had a lot of great tension filled, climactic moments," agreed Ridenhour. "The flavor of the film was infectious. I also enjoyed the subway attack music Cano wrote. That was the first big action moment set in NY and set a great pace and frantic energy for the rest of the film."


Stonehearst Asylum CoverBuy Amazon Us Mp3

Stonehearst Asylum: Original Motion Picture Soundtrack


Featuring original music by John Debney (Sin City, The Passion of the Christ), Stonehearst Asylum: Original Motion Picture Soundtrack also releases digitally on October 14th and on CD on November 11th.


"Brad Anderson is such a brilliant director and great collaborator. We spoke at length about the type of score that he wanted, which was a 'rich, thematic and classic sounding score,'" said Debney. "The love theme had to be a bit sad yet utterly and unapologetically romantic and sweeping," for example.


"The other main theme was the theme for the psychopathic killer," Debney continued. "Brad quite liked the dark and a bit quirky sound of the bass and contra bass Clarinet which was a dark hint at the dark soul of our killer. And yet, it is also darkly humorous. I loved that Brad wanted to express the dark and yet oft times absurd nature of events at the asylum. I thought this a keen and clever idea."









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About The Author
Author: Steve Pattee
Administrator, US Editor
He's the puppet master. You don't see him, but he pulls the strings that gets things done. He's the silent partner. He's black ops. If you notice his presence, it's the last thing you'll notice — because now you're dead. He's the shadow you thought you saw in that dark alleyway. You can have a conversation with him, and when you turn around to offer him a cup of coffee, he's already gone.
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