WaterTower Music releases the Original Motion Picture Soundtrack to Doctor Sleep – available for digital download. Doctor Sleep is a film adaptation of international bestselling writer Stephen King’s novel – which is itself a sequel to The Shining, and in particular Stanley Kubrick’s 1980 classic movie (which I, personally, don’t like as much as the excellent miniseries). In Doctor Sleep, directed by Mike Flanagan, we meet Danny Torrance 40 years after his horrifying stay with his father at the Overlook Hotel. Music is by Andy Grush and Taylor Newton Stewart – otherwise known as The Newton Brothers – whose previous scores include: The Haunting of Hill House series, and the films Oculus, Gerald’s Game, Extinction, and Ouija: Origins of Evil...

There are no less than 36 tracks on this album, although some of them are linking pieces or short fillers. The intention here is to pay tribute to The Shining themes, whilst giving this film its own original and eclectic feel. Of course, they would say that, wouldn’t they! Indeed, the opening track 'Dies Irae / Violet' incorporates The Shining Main Titles. The purpose is to be different by incorporating a multitude of rare or unusual instruments, such as a modified hurdy gurdy known as a hurdy grande (played by Paul Dresher), one of the world’s largest aeolian wind harps (located in Northern California), and modular synthesisers. The orchestra (set up for panning movements between sections) was combined with a unique choir, the aforementioned modular synths and rare instruments, and sprinkled with live recordings – essential for the brothers to create the required sound palette.

There is a semi-recurring theme of a heartbeat, but dressed-up in different disguises, and to great effect. It cleverly brings the human element of the music to your senses, making it more personal. I thought all of the eggs had been put in one basket with '237', because it features deep, increasing rumblings, a nice use of bass synth, ringing, shrieking, tapping, buzzing, and other sound effects phasing in and out so that you have no idea what to expect regarding its direction. However, 'Who’s Tony?' Has a quite other worldly feel, 'Baseball Boy' (wrongly listed on the blurb as 'Steam') has a deep sense of foreboding, 'Astral Projection' has full-on horror slamming with inherent voices from the blue, and the early parts of Redrum sound like the ‘Kill, Kill, Kill – Ha, ha, ha!’ sections from Friday the 13th.

The track lengths range from 51 seconds to 5 minutes and 58 seconds, the whole amounting to upwards of 80 minutes. I have previously criticised certain film soundtracks for not containing any music suites – only sound effects. However, in this instance the instruments, created moods, and constantly changing patterns offer the entire score quite a diverse and original assault on the senses. Although employing a little of the age-old tricks of the trade, even those are presented in a manner which makes them seem new. You wouldn’t be able to enjoy this as a music piece per se, but I can fully imagine it suitably enhancing the on-screen images of the film. I know someone who will only watch horror films with the sound muted, because it’s the music and sound effects that scare her, not the film itself. This is a good example of that priceless partnership of picture and sound.

It occurs to me that for anyone heavily into the Halloween festival, this would be an ideal soundtrack to quietly pipe through to hidden speakers outside your front door, as it incorporates practically every horror setting and feel that you can imagine. It might even frighten the trick or treat kiddywinks away, and then you can keep all the sweets for yourself!

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Ty Power