The film’s score, done by Arcade Fire collaborator Colin Stetson, even recently went viral on TikTok. Not only did the film make well above its budget, but it’s now a cultural staple. Named one of the scariest horror films of the 21st century, Ari Aster’s Hereditary took the film industry by storm. With tracks like “Manhunt” and “Where’s Sammy,” Le Matos has created an atmospheric mood piece that bleeds nostalgia from every orifice. Their score rivals that of Stranger Things composers Michael Stein and Kyle Dixon, with the score’s synths transporting its audience back to the 80s. One of the best aspects of the film is the score by Canadian electronic duo Le Matos. From graphic novels to television, the ’80s was making a comeback, but no other form of media did it better than Summer of ‘84. The mid-2010s saw all kinds of “nostalgia bait” blossoming in different media formats. The score, like this interpretation of Suspiria, is languid and droning, creeping up on listeners until it finally snaps with the track “Volk.” In the film “Volk” is used during the climatic dance sequence, with a brooding piano clashing with garish synths, overflowing until it becomes a cacophony of noise. As the lead singer of Radiohead, Yorke’s crooning voice captured a generation, and his composing work isn’t any different.
But one of the most interesting is Thom Yorke. There’s been a handful of 90s rock stars who have turned to composing late in their careers. Tracks like “Run (Urban Legends)” and “Pursuit” leave you clutching your seat in anticipation, and you’ll find them stuck in your head for days to come. It’s clear that Abels and Peele both realize that what can be scary can also be thrilling. The way he utilizes strings and horns in the most thrilling scenes in the film rivals that of great 1980s adventure movies. While Us’ score had a handful of standout tracks, Abels’ work on Nopeis otherworldly. Michael Abels and Jordan Peele have been collaborators since Peele’s sophomore feature Us, with Abels composing the music that lurks in the background of Peele’s terrifying worlds. Salisbury and Barrow utilize bass and synthesizers to craft an unforgettable and futuristic sound that feels unimaginable to craft. Paired with the reveal of the film’s “alien,” this track reverberates through the speakers like an extraterrestrial event in itself. The standout track from the score is the swirling and overwhelming “The Alien” heard during the film’s climax. The score completely inhabits the film, from droning folk guitars strumming to overwhelming synthesizers. The two have collaborated on each of Alex Garland’s films, but there is no doubt that Annihilation is the standout. Rivaling the likes of Trent Reznor and Atticus Ross as the best composing duo are Ben Salisbury and Geoff Barrow. Annihilation – Ben Salisbury and Geoff Barrow As if the plot of The Invisible Manisn’t scary enough, the harsh music that omits from the film is sure to chill anyone to the bone. The two pair together excellently, and Walfisch utilizes them in scenes with the highest tension. The standout track “Attack,” which plays during our first glimpse of the titular character, boasts a heavy bass that is later accompanied by unwavering synths. The highlight, though, is Benjamin Walfisch’s frightening score. A tense and thrilling film about a woman desperate to escape her abuser, Leigh Whannell’s The Invisible Man remains one of the best films of the 2020s.
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