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Young’s main theme mirrors the Lament Configuration, the Rubik’s cube of the damned that is the center of all the bloody mayhem, underlining the seductive nature with violins before opening up with the full orchestra to foretell the true nightmare contained within. The score features industrial elements reminiscent of the band Coil (who were originally due to score the film) intertwined with the sensual gothic overtones illustrating the next level of gratification the box offers, and it explodes in the final act as Pinhead and Co. come to collect their student of deviancy.
Christopher Young returns to score the sequel to Hellraiser with arguably his most terrifying work to date. HELLBOUND is absolutely terrifying, fusing a large orchestra, a choir, and electronics. Young manages to expand on the original score to deliver something much larger in scope and hearkens back to the golden age of horror scores. A master of his craft, his work here is incredible, with many layers to unravel, which reward the listener on multiple listens.
For the third Hellraiser film, Randy Miller replaced Christopher Young on music duties, expanding on the already established themes of both Hellraiser & Hellraiser II: Hellbound. His score is dark, sombre, and laden with doomy atmospheres. An excellent score to round out the original Hellraiser trilogy.
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