A weeks before the release of the new Halloween movie I received the soundtrack from EVP Recordings, however while I promoted the film and its music via playing selected songs on my various podcast shows Baron’s Crypt, Shredding Metal Beasts, Sinister Death and Hard Rock Madness, I avoided many of the principle tracks for good reasons, and waited until nearly everyone had seen the movie, as the soundtrack review would likely reveal insights about the movie. While this review is about the music and score, it shall mention different aspects of the film, and hence some spoilers, throughout the 21-track production. John Carpenter’s score for Halloween (2018), shows his first musically return to the franchise since Halloween III, as equally a terrific treat for the fans. He worked with his son, Cody, and fellow musician Daniel Davies, to create this compelling feature, and marks his first score since Ghost of Mars (2001), which also received a limited edition released not too long ago. This soundtrack is released by Sacred Bones Records, and later Waxwork Records both with exclusively limited editions, safe bet those already sold out, even though released on October 19th (less than a month ago). Michael Myers returns with a moving soundtrack for all to enjoy, whether it’s Halloween or not.

The opening track is subtle, “Intro” generates a chilling effect swarming over the shoulders, before launching into the “Halloween Theme” with a tad more bass, and slightly more aggressive for the modern audience and yet likely back to the classic design. Meanwhile, “Laurie’s theme” clocking just at 44 seconds, generates of the new wave synth richness. One realizes that Carpenter, not a trained musician, hence keeps it simple, the music telling a story in the straightest line possible for the listener to enjoy for countless times.  The soundtrack doesn’t find itself as a repeat or even a re-imaging of the first score, rather standing on its own, such as “Michael Kills Again” starts eerily quietly as if slowly piercing the blackness before hinting to the impending doom. One could envision the shining blade flashing, the firm grip on the weapon, before the synth jumps in to effect with chilling deliver at 1:15 of the 3:45 segment, the stalking of the prey, not with the common heartbeat, rather the intense walking.  The music of the franchise flows into modern times and also provides me with something the original score failed to do: scares. The track “The Shape Returns” presents Carpenter’s theme from the opening notes everyone knows it, a true classic, just like that of Psycho (1960), but halfway through, it changes with more bass, and an uptick on intensity with overpowering the original score.

Earlier, I mentioned not playing certain tracks, the name of them gives too much insight to the movie, thereby ruining it for those unfortunate not able to see the flick yet, such as “Ray’s Goodbye”, “Laurie Sees The Shape” or “The Shape Burns”. The final track noted as the longest “Halloween Triumphant” clocks in at 7:28, and a wonderful conclusion of the entire album and score.

Track Listing:

  • Intro
  • Halloween Theme
  • Laurie’s Theme
  • Prison Montage
  • Michael Kills
  • Michael Kills Again
  • The Shape Returns
  • The Bogeyman
  • The Shape Kills
  • Laurie Sees The Shape
  • Wrought Iron Fence
  • The Shape Hunts Allyson
  • Allyson Discovered
  • Say Something
  • Ray’s Goodbye
  • The Shape Is Monumental
  • The Shape and Laurie Fight
  • The Grind
  • Trap The Shape
  • The Shape Burns
  • Halloween Triumphant


Without any doubt, a lot of love, passion and effort saturated this score, while generating moments of homage to the original 1978 film as it generates sharpness in many of the tracks and connects well with each song. Often horror fans find horror soundtracks, namely the scores either to nail the moments in the film, or rely on a series of loud strings, trying to suggest other compositions from Herrmann, but this 21-track, and roughly 44-minute long ensemble delivers a sound result to the fans and cues for other aspiring composers to follow. It allows the fans to relish in the moments of remembering this very good horror movie, and entertain others, overlooking the extremely short tracks, thankfully no snippets of audio from the movie interjected on the soundtrack, this just lets the creep factors arise at a steady pace.

Baron’s Rating: 90/100