Horror score at its best with a wonderful main motive

After Bruno Coulais could add sound to the previous two films by Frenchman Mathieu Kassovitz, to the latter has also fished a usual suspects of US composer for his US debut: John Ottman. And the choice can only be described as golden. With a large orchestra Ottman chasing the listener in the best horror-score style maintained shiver down the spine. So he creates sometimes beautifully dissonant sound spaces which are provided with percussions also set the necessary accents. In between, he hides a clever musical shock moments and pulls else so everything approach what one indeed already may know from other films, but merges into Ottman's score a scary harmonious overall sound: From flashy "squeaky" violins to "scurrying" runs everything represented. But the best thing is that the movie puts a Ottman just beautiful main motive underlying. In the first track ("Prologue") Ottman introduces a wonderfully melodic and at the same time mysterious (synth) choral main motive, which he repeated in the course of the scores more times and varied and so his approach-infernal Grusler gives more relaxed moments.
Summary: If you like horror scores comes to this here not over. Ottmann does everything right to create mood, tension and shock moments. As a bonus, there's a wonderful main motive that sets a wonderful counterpoint with its apparent harmlessness and the ear is preparing a joy. Class.