Max Davidoff-Grey (Men Grieving, additional music for The Witcher & Shadow & Bone) & Jason Lazarus (Skull Island, Are You Afraid of the Dark?, Teen Titans Go! vs. Teen Titans) will release a soundtrack album for the supernatural horror thriller The Gates. The album features the composers’ original score from the film and will be released digitally next Tuesday, June 27. Visit Amazon or any other major digital music services to stream/download the soundtrack. The Gates is directed by Stephen Hall and stars John Rhys-Davies, Richard Brake, Michael Yare, Elena Delia, David Pearse and Peter Coonan. The movie revolves around a serial killer who has been sentenced to death by electric chair in London in the 1890s and puts a curse on the prison he is in. The thriller will be released on Digital and DVD on June 27 by 101 Films and Trinity Creative Partnership.
Here’s the track list of the album:
1. Sacrifice
2. The Chair
3. Postmortem
4. Paranormal Society
5. Quite a Claim
6. Noose
7. Lucian
8. Marie
9. Nothing
10. Guide My Hand
11. The Devil Sends His Regards
12. Father Matthews
13. Release Her
14. Ancient Darkness
15. The Key
16. Beyond the Veil
17. For Love
When discussing the score, Max says, “As a first stab at the world of horror, The Gates was a joyride for me. I love my synthesizers and electronics, but our Director Stephen’s vision was rooted in an orchestral palette, which pushed me to build intensity in a different way. We started with organic sounds – percussive bow bouncing on a double bass, ghostly vocal morphs, an old rusty gate (of course) – and played with processing to see how far we could mangle them. Alongside all the aggression, we got to dig in to some beautifully delicate material. At its’ core, the film is about love and the lengths we will go for it. We wanted to capture that. After starting on this project, I asked my good friend and long-time collaborator Jason to jump in, knowing we share a similar affection for the sometimes gnarly, sometimes pretty stuff.”
Jason goes on to add “I’m a huge horror fan and immediately jumped on the invitation to join Max on The Gates. I was originally consulted on the creative approach needed to realize Stephen’s vision and was thrilled when I was later asked to come on board as co-composer to help bring those ideas to life. Our no-synthesizers approach had us constantly asking ourselves ‘what else can we run through a guitar amp?’ which ultimately yielded some vicious results. Personal favorites include a section of orchestral basses and a slowed-down bass clarinet creating a hellishly ferocious wall of yuck that somehow manages to retain faint traces of its organic human origins. We felt preserving these slim shards of humanity amidst a brutal soundscape helped allude to the very human motivations underpinning William Colcott’s monstrous actions.”
