Unlike the scores of most horror films, composer Christopher Young’s approach to the music of Hellraiser largely avoids anything verging on “scary.” Instead, his synth-heavy score conjures a feeling of grandeur that is more akin to dark fantasy. The main theme is a floaty, ponderous synth melody that haunts not just the film, but also the entire Hellraiser series. Rather than fear, it gives a sense of wonder and awe, its ethereal nature a foreshadowing of the inconceivable and otherworldly portal to hell that will be opened and the ancient evil waiting to be unleashed.
The Cenobites – the demonic servants of “Leviathan” – are aesthetically a mixture of more medieval, Christian nightmares and neo-industrial/gothic figures. As such, as the film progresses its bombastic synth melodies give way to more modern industrial music influences. Hollow, drawn-out synthetic percussion and dark ambient electronica conjure images of vast, damp dungeons teeming with the endless horrors and tortures for those unfortunate enough to be conscripted by the Cenobites.
Young’s score for Hellraiser is very much the music of its main antagonists, the Cenobites, and serves as a standout among 80s’ synth and horror music. While the prestige and quality of the Hellraiser series may have deteriorated with every new installment, the sequels have tried to do one thing right: holding onto the themes, motifs, and ideas of Young’s score for the original Hellraiser.
