To say that composer Mark Korven is inventive, innovative, and pioneering is such an understatement. I loved his score for VVitch and am in awe of his work for the latest Amazon original TV series Them.  One can never say that this composer writes themes so that fans or collectors can listen to them away from the project that they are composed for, he writes to serve the picture solely and foremost, and his work within the horror genre is outstanding and highly original.

Mark Korven.

Them contains a score that in one word is Harrowing, the composer making brilliant use of voices, to further unbalance the watching audiences and punctuate, enhance, and support the visuals. His use of percussive elements too is striking and imaginative. This tense and unsettling soundtrack is a treat for true horror fans as they will understand fully that the composer is creating an even greater atmosphere for an already unnerving series. This is a truly remarkable work, modern sounding, at times guttural and for most of the time dark to the point of engulfing any listener. The orchestrations and performances are wonderfully shadowy and resoundingly affecting. It is a driving work at times, vibrant and electrifying as in it never holds back and always delivers that unexpecting twist and shock. A great score, worth a listen, but not alone.

Another score that must be heard is The Unholy by Joseph Bishara, this unbelievably talented actor, filmmaker and composer once again creates a score that sends a succession of shudders through one’s body, this is a tour de force of the scary and frightening. The music never relenting in its job to underline what is occurring on screen and at the same time sending panic and distress to the audience before anything has happened, Bishara is a master at creating music and sounds that are like a pre-cursor to the horror or the violence, As any film music fan that decides to listen away from the movie will tell you. Like his scores for movies such as The Conjuring and Insidious it never allows the audience any respite, and at times Bishara’s music and soundscapes are in fact more terrifying than what is happening in the story on screen.

Joseph Bishara.

The Unholy however does have a kind of celestial sounding side to it, with the composer employing voices to great effect, which do create a false sense of security for any audience or listener, but this is good, as he is doing his job and fashioning a score that not only supports but becomes a part of the story. If you are a connoisseur of horror score’s then this and Mark Korven’s Them is right up your dark, foggy, sinister alley. May I recommend that you listen to Them, then The Reckoning by Christopher Drake followed by The Unholy, a great trio of music from modern day horrors and its nowhere near Halloween yet. .

Il triangolo della morte: i mostri di Firenze.

Il Triangolo Della Morte: I Mostri di FirenzeThe Triangle of Death-The Monster of Florence, is an Italian made documentary, which investigates and brings to the forefront the story of a serial killer who murdered sixteen victims in a relatively confined area that was later referred to as The Triangle of Death.  The killer was dubbed by the Italian press and authorities The Monster of Florence. The documentary examines the crimes and the implications and the aftermath of the killings in great depth, the film is so well made that at times one forgets that this is a documentary. Its an absorbing and interesting watch.

The music for the documentary is by singer, song writer, and composer Silvia Nair Viscardini. Her score does much to enhance and support the proceedings on screen, and at the same time adds depth and atmosphere to the investigation as it unfolds. At times it evoked the style of Ennio Morricone, and the work of Italian Maestro’s such as Stelvio Cipriani, Gianni Ferrio, and Pino Donaggio. Silvia Nair Viscardini, creates and utilises a subdued air of tension throughout the work, lacing the images and various discoveries eloquently and effectively. The music is highly effective within the context of the movie, the composer fusing both conventional instrumentation with electronic support flawlessly combining both. The score is not just successful within the film itself but also has much substance and entertainment value away from the images and is well worth a listen even if you cannot get to see the documentary. Her use of voices is stunning and chilling, the compositions evoking sounds from several the Giallo movies that were released in Italy during the 1960’s and 1970’s. The cue Serial Killer is a dark and meandering piece, that repeats it’s core theme but does so in a menacing way with the composer adding to the composition as it develops, performed on piano, it is unsettling as well as being attractive, with controlled stabs from the string section punctuating the performance and then strings eventually taking on the central melody and performing it in conjunction with the piano as if they are shadowing or stalking it. This is at times a fearsome and dark sounding score which given the subject matter is fitting, a low key but driving score that includes imaginative use of percussive elements, and one that is inventive and innovative. Available on digital platforms, check it out, Recommended.