Zanobard Reviews

John Carpenter’s score for the 2018 Halloween movie feels like a thematically richer & stylistically more refined variation on the composer’s iconic original 1978 work, as motifs both old and new come together to once again terrify with Michael Myers’ unrelentingly eerie piano-focused soundscape.

Ah, Halloween – 2018 edition! The original 1978 Halloween score of course started it all, with its iconically eerie electronic soundscape (created by composer John Carpenter) dramatically documenting each and every malevolent move of Michael Myers through various intriguingly unnerving motifs as he stalked and slashed his way through that very first film – with the main and ever-repeating piano-based Halloween Theme of course being the star of the show. That said though, while I absolutely love the ghostly, eerie feel of that first 1978 album – for me personally, Carpenter’s soundtrack for 2018’s legacy sequel Halloween is actually the better of the bunch there. Everything just feels so refined with it; the themes, the style, all those iconic sounds we know, love and will associate forever with the iconic Myers – they all just sort of culminate in the very best of ways, and so that’s why of all the sequel soundtracks that Halloween has had over the years – both with and without the legendary John Carpenter – it was this one in particular that I wanted to tackle for this year’s October specials. So without further ado, let’s dive right in.

A towering sense of electronic dread opens this Halloween sequel album, with eerily high-pitched synth occupying much of opening minute-long cue “Intro” before the iconic title theme returns for “Halloween Theme”. Loudly feverish piano notes reprise that ghostly repeating motif which represents Michael Myers so impeccably well right as this happily three minute track begins, overall fulfilling its role as a modernised and indeed revitalised version of the iconic theme while also still retaining the iconic motif’s creepy, ever-stalking tonal identity. The subsequent “Laurie’s Theme” then performs a similar role, reprising Laurie’s much more pensive motif from the original 1978 score but now with an older, almost regretful feel to it as much lower-pitched piano notes take centre stage – fitting for the character herself in the 2018 movie. Coldly echoing synth then opens “Prison Montage”, with a solemn piano driving home this eerie ’80s-sounding electronic ambience with hints toward the Halloween theme for the remainder of the track’s three minute runtime. A sudden franticness then overtakes for the short “Michael Kills” with a horror-like crescendo finish, before the longer “Michael Kills Again” then simmers with quiet electronic malevolence in its first half and a crashingly villainous electric guitar in its second on a tense percussive backdrop.

Thematically, Michael fully takes centre stage for “The Shape Returns”, with the sharp Myers Reveal motif from the original 1978 score opening the track before a full piano reprisal of the iconic title theme takes over. Tensions then rise at the halfway point as rapid electronic percussion arrives, with the title theme building moodily alongside the now thudding background for much of the rest of the track. “The Bogeyman” then utilises a slower, more pensive piano rendition of the main theme, with “The Shape Kills” straight after suddenly exploding with the malevolent and indeed deafeningly electronic return of the Myers Chase motif – again from the 1978 score. “Laurie Sees The Shape” then continues this rising tension with low-pitched synth and a short appearance of the Myers Reveal motif, with a dramatic electronic stab of synth also echoing along similar stylistic lines through “Wrought Iron Fence” immediately afterward. “The Shape Hunts Allyson” however then introduces a brand new and rather intriguing theme; a swirling, eerie and indeed unrelenting electronic piece (which we’ll call the Myers Hunting motif for ease) that repeats with growing aggression in its unfortunately short introductory track here. “Allyson Discovered” then slows things back down, returning to the solemn piano ambience of earlier cues before “Say Something” delves deep into a dark and rather unnerving synthy soundscape.

The Myers Chase motif reprises in full aggressive force for “Ray’s Goodbye” with intense electronica abound, with the subsequent “The Shape Is Monumental” then quieting things significantly, simmering eerily with low-pitched synth and the occasional flare of louder, more horror-like electronics. Action then thunders back into centre stage for “The Shape And Laurie Fight”, with hints of an electric guitar playing tensely underneath thudding electronics in the first half and moody ambience interspersed with the Myers Reveal motif in the second. The eerieness of the back half then continues into “The Grind” with growing electric hints toward the new Myers Hunting motif from earlier, before “Trap The Shape” then returns to frantic action with moody electronic undercurrents and jumpscare-esque Myers motif interspersions. With the album’s end approaching, the short “The Shape Burns” reprises the Halloween theme in a rather conclusive, almost victorious fashion before Standout Cue “Halloween Triumphant” then gives us one of the best pieces of music in the entire franchise; the Halloween theme plays in a happily lengthy and superbly dramatic end credits fashion here with piano, synth and an enjoyably thunderous electric guitar – and that’s only the first half, as the new Myers Hunting motif then dominates intensely for a exquisitely lengthy playthrough in the second to round off both the track and the score.

Overall, John Carpenter’s score for the 2018 Halloween movie feels like a modernised and indeed revitalised return to that iconically eerie Michael Myers soundscape of 1978. One thing that I absolutely loved about the original score is how the music was as much a part of Michael as his knife, enhancing his murderous actions throughout the film, and that central aspect has thankfully returned in spades for this legacy sequel album; the well-known piano-focused title theme of course reprises, as do the eerie Myers Reveal and unrelenting Myers Chase motifs (see “The Shape Returns” and “The Shape Kills”) – and there’s even a brand new addition in the form of the continually malevolent Myers Hunting motif (“The Shape Hunts Allyson”) that, while you do wish it appeared a little more, makes a dramatic impact on this already thematically rich synthwave horror soundscape. Speaking of, the electronic tone and style enjoyably feel very refined and powerful here, and I love the addition of an electric guitar as well to the mix – it and indeed the new Myers Hunting motif are at their best through Standout Cue “Halloween Triumphant”.

All-in, Carpenter’s soundscape for the Halloween franchise doesn’t get much better than this.

Score: 9/10

Standout Cues: The Shape Returns, Halloween Triumphant

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