Milan Records releases Music From the Netflix film Fear Street Part 3: 1966 – the third in a trilogy of horror stories set across three time periods by composers Marco Beltrami, Anna Drubich and Marcus Trump. The film, directed by Leigh Janiak and based on R.L. Stine’s best-selling horror books follows a group of teenagers who discover the terrifying events which have plagued their town of Shadyside for 300 years may be connected. In the Finale the origins of a curse are finally revealed, changing the lives of the Shadyside residents...

For the score Beltrami this time creates a contradictory more modern sound, with strings, percussion, choir and electronics. He has scored many films, including 3:10 to Yuma, The Hurt Locker, Logan, Terminator 3, I Robot, A Good Day to Die Hard, World War Z, and Venom: Let There Be Carnage. Other projects include Guillermo del Toro’s Scary Stories to Tell in the Dark, and the latest series of The Twilight Zone for TV, and Fortnite for the hit video game. Anna Drubich, originally from Russia, has scored for cinema, TV, animation, theatre and documentaries. Recent works include Scary Stories to Tell in the Dark, and Werewolves Within. Marcus Trumpp has scored for, among others, The Woman in Black, Love and Monsters, and the computer games Medal of Honour and GUN. He has also composed various concert pieces – including Northmen: A Viking Saga. Fear Street Part 3 is available for download...

Track List: 'Reflection', 'Devil’s Book', 'Full Moon Party', 'Maiden’s Rock', 'Pastor Miller', 'Bad Omens', 'Dalliance', 'The Pastor', 'Hysteria', 'Accusation', 'No Lamb', 'Book is Gone', 'Sarah Hides, Revelation', 'The Tunnels', 'Severed Hand', 'Sarah’s Fate', 'The Curse', 'Goode Ending', and 'A New Day'.

There’s a nice opening which uses Cello to unusual effect. In fact the variety of strings proves its versatility and effect for multiple moods. The menace first makes itself known through quiet rumbling and scraping. Pagan rattling and other percussion seeks to create a sense of unease. A string section introduces some of the quieter moments. But It takes until 'Accusation' – the halfway point – before the composers up the ante, and so the fear factor. I have to say there are fewer dramatic and exciting tracks than on the Part 2 soundtrack. One such nice example which almost seems to belong on that collection is 'Revelation', with its stomping tempo and discordant devilish chants, surrounded by unsettling noises. Fear and trepidation pursues us down 'The Tunnels'. 'Severed Hand' is a chaotic cacophony of frantic strings and bass-driven sounds. Easily, the stand-out piece here is 'Sarah’s Fate'. This is a nice suite which incorporates sad melancholia, haunting vocals, a change in pace and direction, and a wide-encompassing orchestral sweep. Something for everyone. There is quite a grandiose conclusion, before the end piece which is familiar enough to be adapted as a single, had the film taken that path.

It's strangely at odds for a film set in 1966 to have a modern score – particularly incorporating Electronica – especially when Part 2 of Fear Street was scored more in line with the movie music of the time. I think there was a missed opportunity here to do this one while paying tribute to the compositions of James Bernard whilst working for Hammer Horror Films. Nevertheless, at least from the halfway point, this is a solid soundtrack and well worth a listen – if not quite to the standard of Part 2.

7

Ty Power