When I saw this film, it didn’t take long for me to decide that I was going to buy the soundtrack. As the film continued this decision was only further cemented, and by the time the credits rolled I stayed in my chair, waiting to see who was behind these jarring, grating sounds.
Disasterpeace is an outfit I am not too familiar with, though I do know they scored The Guest with a less-abrasive but still retro sound. Here the proverbial knob is turned to eleven as they create a soundtrack that is almost as unsettling as the movie. This approach to creating a soundtrack for a horror film reminded me of the score for the horror classic Suspiria – created by the extremely unconventional prog-rock band Goblin.
Compare that to the recurring motif of Disasterpeace’s effort:
For two soundtracks almost 40 years apart, they sound quite similar wouldn’t you say? The most notable difference to my ears is the time periods they were released in, as the Goblin track sounds like some other more experimental prog-rock of the ’70s, while this soundtrack benefits from some great, modern production that makes every different synth very clear. But both I feel succeed in intentionally making you feel uncomfortable and tense.
Disasterpeace have created something special here, as since I first saw Suspiria, I have never heard another soundtrack quite like that Goblin-created mind-trip. This not only succeeds in matching the Goblin album – it supersedes the classic soundtrack. Every track causes me to close my eyes and drift away, sometimes seeing images from the movie in my mind’s eye, sometimes drifting away into a place created solely by the music. It is that strong that it doesn’t remind me of the movie for every second of its runtime, even though I know where it all comes from originally, which to me signals that this is an album strong enough for people to enjoy if they haven’t even heard of the film.
Now this may sound odd, but this is such powerful music that I actually use it to meditate to. Many parts send pleasant chills up my spine if I do this, and not because I am reminded of the movie. A high-end home-theatre set-up helps tremendously in achieving this and the desired effect for this album, as abrasive synthesisers attack from all directions and the floor rumbles with bass, as the album puts on a physical show to go with the audio, sending bass waves pulsating through your body. The best track that illustrates this, although every song possesses this quality really, is track 12 ‘Doppel’. Again I have no idea what scene this relates to, as it doesn’t take long for this album to take on a personality of its own not related at all to the film. This is not something that can be said about many soundtracks. Every song is able to stand strong as its own entity; its own song rather than simply being a piece of music made only to accompany a film.
The best is saved for last though. My favourite track from the album comes from (I assume) the climax of the movie, as it is the second to last track. It combines all the elements of each track previous, while also using the recurring noise motif to perfect effect, creating one monster of a track that sounds unlike anything I have ever heard.
As you can hear, the music is a big part of how the movie manages to make you feel uncomfortable. I can’t wait to buy the Blu-ray release of this film, as I look forward to watching it with only this OST playing rather than any of the dialogue, which I found to be the movie’s weak point. I might throw in some Goblin tracks to fill the entire runtime of the movie. Now that will be an intense experience!
Anyone who is a fan of noise-rock, heavy music or any abrasive style in general needs to give this at least one listen. Play it, turn it up to eleven, and close your eyes as the synthesisers and drum machines take you into another world. This soundtrack is a big reason why the atmosphere of It Follows is so incredibly thick, and is easily one of the best pieces of music I have ever had the pleasure of listening to, soundtrack or otherwise.