For Intrada's latest release, composer Patrick O'Malley chose to eschew the current sound-design approach of many modern-day horror films and lean into a more traditional (and frankly fan-embraced) style of horror scoring. Composers from earlier decades always lauded the opportunities provided by horror films to embrace experimentation that were not often afforded in other genres. It provided an opportunity not only to embrace dissonance as would be expected, but also the lyrical side so often ignored in horror films today. Think Jerry Goldsmith's delicate theme for Carol Ann balanced alongside the aggressive action in Poltergeist. The two can easily coexist in a horror setting. As O'Malley describes in his notes: One of the best things that can be given to any composer (of film music or otherwise) is a large canvas. When I first read Andrew [Chiaramonte] and Emmett [Alston]'s script for Young & Cursed, I initially thought that the film would only need light touches from the music: subtle electronics with the occasional reverb-submerged piano and grit-filled jump-scare stinger (after all, the plot outline is a bunch of kids in a cabin getting spooked for 90 minutes!). But, upon seeing a rough cut of the film and hearing [director] Andrew passionately discuss his goal of putting the audience in a larger frame of mind about the spiritual nature of good and evil, a much different sound came to me: a traditional-style score combining orchestra, choir, synths, electronics and a battery of homemade “found object” instruments.
O'Malley may not be a name known to many, as Young & Cursed is his first full-length film score after working on several shorts and in the classical music scene. Hopefully this score is the harbinger of many more feature-length film assignments to come.
The film is a supernatural psychological horror film directed by Andrew Chiaramonte, centering on five young strangers who retreat to a remote wilderness cabin, only to find themselves under the sinister influence of a mysterious woman possessed by an ancient force. As they become trapped and isolated, the group’s trust erodes and paranoia grows, forcing each person to confront their deepest fears and inner demons.
INTRADAの最新リリースにおいて、作曲家パトリック・オマリーは現代ホラー映画の多くに見られるサウンドデザイン手法を意図的に避け、より伝統的（そして率直に言ってファンに支持される）ホラー音楽のスタイルを追求。過去の作曲家たちは常に、ホラー映画が他のジャンルでは得難い実験の機会を提供することを称賛してきた。それは、当然のことながら不協和音を取り入れる機会だけでなく、今日のホラー映画ではしばしば無視される叙情的な側面も取り入れる機会を与えている。ジェリー・ゴールドスミスの『ポルターガイスト』で、キャロル・アンの繊細なテーマと、攻撃的なアクションがバランスよく組み合わされていることを考えてみよう。この2つは、ホラーの設定の中で容易に共存することができる。
トラックリストオマリーが彼のノートで次のように述べている：
（映画音楽であれ、その他の音楽であれ）作曲家に与えられうる最高のもののひとつは、大きなキャンバスである。アンドルー・キアラモンテとエメット・アルストンの『Young & Cursed』の脚本を初めて読んだとき、私は当初、この映画には軽やかな音楽で十分だろうと思った。つまり、時折リバーブのかかったピアノと、砂粒のようなジャンプスケアのスティンガーを伴った、繊細な電子音楽だ（結局のところ、この作品のあらすじは、山小屋で90分間、子供たちが恐怖に震えるというものである！）。
しかし、この映画のラフカットを見て、アンドルー監督が、観客に善と悪の精神的な性質についてより大きな視野で考えてもらうという彼の目標について熱く語るのを聞いたとき、まったく別のサウンドが私の頭に浮かびました。それは、オーケストラ、合唱団、シンセサイザー、電子楽器、そして手作りの「見つけた物」を使った楽器を組み合わせた、伝統的なスタイルのスコアでした。
オマリーは、いくつかの短編映画やクラシック音楽シーンで活動してきた後、本作『Young & Cursed』が初の長編映画音楽となるため、あまり知られた名前ではないかもしれません。この音楽が、今後さらに多くの長編映画音楽の仕事につながる前兆となることを願っています。
サウンドトラックの予告編はこちら：
この映画は、アンドルー・キアラモンテ監督による超自然的な心理ホラー映画で、5人の見知らぬ若者たちが人里離れた山小屋に逃げ込むが、古代の力に憑かれた謎めいた女性の不吉な影響下に置かれるというストーリー。閉じ込められ孤立するにつれて、グループの信頼は損なわれ、偏執狂的な考えが広まり、各人は自分の深い恐怖や内なる悪魔と向き合うことを余儀なくされる。
For Intrada's latest release, composer Patrick O'Malley chose to eschew the current sound-design approach of many modern-day horror films and lean into a more traditional (and frankly fan-embraced) style of horror scoring. Composers from earlier decades always lauded the opportunities provided by horror films to embrace experimentation that were not often afforded in other genres. It provided an opportunity not only to embrace dissonance as would be expected, but also the lyrical side so often ignored in horror films today. Think Jerry Goldsmith's delicate theme for Carol Ann balanced alongside the aggressive action in Poltergeist. The two can easily coexist in a horror setting. As O'Malley describes in his notes:
One of the best things that can be given to any composer (of film music or otherwise) is a large canvas. When I first read Andrew [Chiaramonte] and Emmett [Alston]'s script for Young & Cursed, I initially thought that the film would only need light touches from the music: subtle electronics with the occasional reverb-submerged piano and grit-filled jump-scare stinger (after all, the plot outline is a bunch of kids in a cabin getting spooked for 90 minutes!). But, upon seeing a rough cut of the film and hearing [director] Andrew passionately discuss his goal of putting the audience in a larger frame of mind about the spiritual nature of good and evil, a much different sound came to me: a traditional-style score combining orchestra, choir, synths, electronics and a battery of homemade “found object” instruments.
O'Malley may not be a name known to many, as Young & Cursed is his first full-length film score after working on several shorts and in the classical music scene. Hopefully this score is the harbinger of many more feature-length film assignments to come.
The film is a supernatural psychological horror film directed by Andrew Chiaramonte, centering on five young strangers who retreat to a remote wilderness cabin, only to find themselves under the sinister influence of a mysterious woman possessed by an ancient force. As they become trapped and isolated, the group’s trust erodes and paranoia grows, forcing each person to confront their deepest fears and inner demons.
Play all clips
01. Lilith's Theme (3:33)
02. Hope and Sorrow (2:27)
03. Prologue & The Calling (4:32)
04. First Escape (2:28)
05. Kyra (3:07)
06. Two Of Them (1:07)
07. Food, Love, Death (3:09)
08. The Apparition (2:14)
09. Donny's Trap (2:53)
10. The Waiting (1:27)
11. God's Children (4:58)
12. The Curses (1:01)
13. Blood Moon (3:32)
14. Possession Dance (8:33)
15. Childhood Nightmares (0:50)
16. The Attack (3:42)
17. Temptations (03:51)
18. Death Light (5:04)
19. Demons Past (4:33)
20. The Sacrifice (2:17)
21. Adagio Religioso (06:42)
Total CD Time: 1:12:11