Benjamin Wallfisch is a composer who has come to the forefront of film music in recent years, and it is hardly surprising seeing that his talent, gift for melody and originality becomes more and more evident with each film he scores. One of his latest assignments is IT CHAPTER TWO, the composer returning to the story after his successful score for the 2017 version of Stephen King’s chilling tale. After a period of some twenty seven years the Losers club have grown into adults and put the horrific events of Pennywise the gruesome clown behind them, until that is they receive a phone call which brings them back together and returns them to their worst nightmares in the form of Pennywise The score is in my opinion better than the soundtrack the composer fashioned for the 2017 production, as in it is far more developed thematically and also has to it a sensitive and emotive side, this for me is a perfect horror soundtrack, the composer treads a very fine line between going over the top and also not giving the images enough support when working on films in the horror genre. Wallfisch has got the formula and the mix just right, yes there are lots of dark and evil sounding passages but there are also an equal number of pieces within the work that are oozing with a rich and even lush sound. The composer creating delicate and fragile sounding tone poems within the quieter moments of the soundtrack, but then in the next instant bringing sinewy, spidery and tense sections to fruition that underline, support and greatly enhance moments of intense uneasiness. Slicing strings that grate and evoke a sensation of foreboding and spitefulness feature at times and these are I have to say brilliantly executed. The composer’s inclusion of lighter musical elements that purvey a sadness and an atmosphere of solitude are wonderfully written and totally mesmerising, being like a pool of tranquillity within a sea of turmoil that is overflowing with macabre impish sounds that become haunting, effecting and engrossing. I also love the use of choir within the score, it gives the work an epic feel and Is a grandiose and powerful element of the work. In many ways I suppose one could say that this is written in a similar way to Jerry Goldsmith’s POTERGEIST scores, it contains so many colours and textures, and has an abundance of musical twists turns and loop the loops but it is an entertaining and a rewarding listen. The work is at times relentless and driving, commanding and hectic, and above all it just works in the movie and its pretty good away from it also. This is one to watch out for, check IT, out. Are you scared yet?