For more than 30 years, Wes Craven’s classic A Nightmare on Elm Street has been a staple of the horror genre. No doubt, every horror fan can tell you the first time they saw Freddy Krueger terrorize Nancy and her friends. Now, for the first time, fans can own the soundtracks to 7 Elm Street films in one convenient (kickass!) box set. The eight XLP set from Death Waltz records, dubbed the Box of Souls, goes on sale Wednesday October 25. Pressed on 180 gram vinyl with original artwork from Mike Saputo for each film, the box set also includes a 12-page booklet of extensive liner notes and interviews with key composers and cast members.
I’m sure it goes without saying that we’re big fans of A Nightmare on Elm Street here at NOFS. For more than just ourselves, the series has remained one of the most successful and loved horror franchises, grossing over $400 Million across 9 films. Three decades and counting, Freddy Krueger has terrorized the children of Elm Street, cementing himself as one of the most iconic villains in film history. Robert Englund’s performance as Freddy Krueger helped shape the franchise as we know it, but the score of each film is what truly built the atmosphere of Nightmare on Elm Street.
From Death Waltz Records:
The music of Elm Street is a huge part of the series, each film having its own unique sound and feel. Charles Bernstein created the original score, and Freddy’s main theme that was used throughout the series. His score to the first film is nothing short of a landmark horror score and utterly defines American horror in the ’80s – super downbeat, eerie and metallic. Christopher Young (Hellraiser) supplied the score to Freddy’s Revenge, and takes the themes down a more orchestral route, layering sounds upon sounds to create a truly scary listen. Angelo Badalamenti (Twin Peaks) composed the score Dream Warriors. Here he crafts moody textures and a woodwind section to create a dreamlike score that fits the theme of PART 3 perfectly.
Craig Safan was bought on to compose The Dream Master, and with the help of a synth-clavier synthesizer he created one of the craziest horror scores of the ’80s. Yeah, sure, it’s scary and creepy, but it’s also a ton of fun and totally unique. For The Dream Child, Jay Ferguson delivers a synth-heavy score with nods to fairground music and layers of church organs and weird choral samples. For The Final Nightmare, Australian composer Brian May mixes electronic and orchestrations to stunning effect and for the final film in the series. In New Nightmare J. Peter Robinson gives us a super lush orchestrated nightmare that harkens back to Bernstein’s original.