MUSIC

ABOUT THE PROJECT
Continuing with re-scoring my favorite past horror films, I bring to you “Horror Re-Re-Scored 2: Murder By Porssession”. The film chosen was – “The Exorcist III”.

The original score by Barry De Vorzon consisted of processed and synth drone voices along with an array of growls and grumblings. It was a great solution to not detract from all that dialogue and was a unique approach to scoring the film as it was more of a sound design approach. However, he used it so sparingly (or the final film only retained sparse moments of his music if there was in fact more created) that many people think the movie has no score. 

So, what would I do different musically?

After learning of Chris Young having been brought onboard to replace De Vorzon’s score (but was eventually let go after Blatty’s win to keep it), I knew what I was going to do. My approach would be an homage to Chris’s style of the late 1980s and early 1990s transparent writing and sound design elements. This album is dedication to Chris Young for being an inspiration to me all these years.

ABOUT THE MUSIC STRUCTURE
For his score, I created a backstory with the music that connects the stories of Kinderman, Karris, and the mystery around The Gemini Killer while addressing the spiritual and supernatural elements as well as address the innocent victims murdered by an unseen killer. The score has three main themes and various motifs. The style is dark, melancholy, and ambient but with a spiritual edge always, even when in the direct presence of Evil. For those familiar with the film, those listeners will know what scenes these tracks play over. The track titles also will help to give away which scenes the music was composed for. For those listeners unfamiliar with the film, this will be a new listening experience altogether. 

Besides having a great murder mystery story entangled with the supernatural elements, this film has some of the best dialogue scenes. There were “lots” of them and many times quite lengthy, making it more challenging for D4Disgruntled to compose around. I came up with a formula for solving this challenge. Almost all the dialogue scenes seem to be made up of thirds with the last third containing the most important takeway of what was being said. That is the portion I scored when it came to the big dialogue scenes. Otherwise, I went straight to the atmosphere and tension building. I didn't forget about the scares either, especially that famous jump scare.

TUBULAR BELLS RE-IMAGINED
Tubular Bells was not used in any form throughout the score. It had been considered in the beginning, but a few trial and error moments proved it just wasn’t gonna work. However, D4Disgruntled did create a bonus track featuring a newly “re-imagine” rendition of “Tubular Bells” in the same style and tone of the score. It is much darker and evil sounding, almost like a demonic tribal celebration he