Released in 1988.HELLBOUND- HELLRAISER ll is I think a more engrossing movie than the original. This bloody sequel stars many of the cast that featured in HELLRAISER and was written by the original movies director Clive Barker with this time directorial duties being undertaken by Tony Randall. It is I suppose an explanation of how Hellraiser came about or at least some of the events that led up to Pin Head becoming a Cenobite. The score by Christopher Young obviously contains the macabre sounding waltzl-ike central theme from the original score which was also composed by Young. However HELLRAISER ll the score is in many ways more polished and certainly more grandiose if that is at all possible, within the score there are many nods of recognition to the work of two Hollywood Maestros Bernard Hermann being the predominant force and Jerry Goldsmith the other. Growling brass, booming percussion and sweeping strings are all present and are engulfed and elevated to even greater heights by the composers creative use of powerful choral accompaniment and an array of interesting percussive elements and strange sounds that act as a foundation on which the composer builds the remainder of the score. But, I will add that this is not just a score of darkness, chaos, fearfulness and uneasy sounding melodies, HELLRAISER ll has a more romantic side to it if only in a fleeting way, with Young adding a beautiful but at the same time apprehensive sound to the proceedings these rare moments are a pool of calm within a score that is filled with fearsome, guttural and virulent sounding musical passages. The sound achieved by Young for this score I would not say is innovative or even original in fact the composer serves up a text book horror score grand and commanding themes dominating the action cues or moments of gory and unspeakable horrors and sliding, icy and sinewy strings taking hold in the quieter moments or shall we say less full on sections of the storyline. The score has recently been re-issued in a re mastered format to commemorate its 30th Anniversary, and thirty years on it is still terrifying and chilling.
The track HALL OF MIRRORS is an example of the offbeat and menacing atmosphere that drifts in and out of the work, a macabre and sinister off kilter fairground tune that really gets inside your head opens the cue, I say it gets inside your head, because one straight away associates this kind of tune with fun but it is soon apparent that things will be everything but hilarity and enjoyment as it descends into a collection of echoing sounds and crashes that are less than comforting, with the fairground tune being faded in then out which plays havoc with the listeners emotions. The same can be said of the cue CHEMICAL ENTERTAINMENT which is a fusion of swirling and twisted strings and wild percussion that creates a harrowing and tormented atmosphere. You must add this classic to your collection. Its ominous and strangely attractive hypnotic sounds will delight and enthral you.