On this Devil’s Night, who better to raise a little hell with than my latest guest: Ben Lovett (The Night House, The Ritual). Ben and I primarily talk about his latest score, Hellraiser, which is a reimagining/remake of Clive Barker’s original novella The Hellbound Heart. As part of that discussion, we cover (among other things): Ben’s utilization of Chris Young’s themes for the original film; making the score something uniquely his own; turning 55 cues and 97 minutes of music into a listenable experience ready for a score release; and dealing with the pressure (and external criticism) that comes with working on such a big, beloved (sometimes) franchise.

Although I’ve been a fan of Ben’s music for quite a while, his score surprised me. There are a lot of subtleties and nuances, not just with the permutations of Young’s themes but more broadly. It maintains some of the brooding Gothic atmosphere of the original while giving a modern (and much more textured) twist, striking a balance between homage and invention. These pieces also beg for repeat listens, as every time I discovered new sounds and melodies.

This talk also raised one of more deep-seated paranoias of writing about film music: writing about instruments. I always worry that I’m going to say one instrument or source of sound was used, when in fact something entirely different was actually used. Similar to an anecdote Colin Stetson told me earlier this year, Ben mentions reading reviews that state he used various synths or other electronic sources when, in fact, these sounds come from organic but utterly unorthodox places, like pianos laced with chains or stacked metal sheets acting as percussion. Who could guess these? Certainly not me.

You can also find out more about Ben on his website. Hellraiser is currently streaming on Hulu, while Ben’s score (and much of the rest of his music) is widely available physically and digitally, including on Ben’s bandcamp. In addition, Mondo is releasing a limited edition (2,000 copies) vinyl in connection with Lakeshore Records and Death Waltz Recording, pressed on two 140-gram records in the form of a colorful “Hell Priest” variant.

Have a listen to our conversation below or wherever you get your podcasts (including Spotify, Apple Podcasts, and YouTube).

About Hellraiser

“A reinvention of Clive Barker’s 1987 horror classic from director David Bruckner in which a young woman struggling with addiction comes into possession of an ancient puzzle box, unaware that its purpose is to summon the Cenobites, a group of sadistic supernatural beings from another dimension.” – from Hulu