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Exclusive Top 10: Director Drew Daywalt Shares His Top 10 Albums To Write Creepy Screenplays To!

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15 years ago

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For a while now we’ve been bringing you artists Top 10 lists that focused on horror movies, music, posters, etc… But now we’re thrilled to bring you a new version of this running series where we get directors and actors to submit their Top 10 music choices for specific horror situations. To kick this series off, we’ve got director/writer/producer/jack of all trades Drew Daywalt giving us his Top 10 Albums To Write A Creepy Screenplay To! Check it out after the jump!

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Drew Daywalt has directed several horror shorts, including the web series Camera Obscura. He has also directed the upcoming horror MTV series, Death Valley. Drew also writes for FEARnet. You can check out this horror shorts on his YouTube channel as well as keep up with his work on his Twitter.

Top 10 albums over at the Daywalt Fear Factory
Here are the top 10 albums I like to write horror and dark fantasy to, as well as some of the reasons why. 
Enjoy.
-Drew Daywalt  April, 2011
Corvo
Corvo is a dark romantic horror rock band whose music is equal parts beautiful and scary. If you draw a triangle between Dead Can Dance, NIN and Rammstein, you’ll have a good approximation of Corvo’s sometimes lilting, sometimes mechanical, always haunting sound. Comprised of instrumentalist G9 and lyricist/vocalist NiNi, they are by far my absolute favorite band to listen to while writing. Corvo has scored the majority of my short films as well as my 20 episode horror web series Camera Obscura, and in them I find dark kindred spirits. Audio twins to my video, if you will. If I did music, I’d want to be Corvo, because it’s like they peel back my skull, look at my visuals and pull out sounds that I imagined, but did not know were there…
Dead Can Dance – Into the Labyrinth
Dead Can Dance has always been a go to band for me when writing dark, dramatic moments. Moments of loss or grim discovery. Moments of mourning, mystery or intrigue. They’re best played late at night where the only light in the room is the soft blue glow of the computer screen as I type away. And Into the Labyrinth, as an album, is like DCD concentrate. Their darkest, richest songs, in the smoothest playlist. 
Cocteau Twins – The Moon and the Melodies
The soft mystical tones of the Cocteau Twins has always brought me to a centered, zen kind of space. And sometimes, even if I’m not writing a scene that’s fantastical and chill, I will put on The Moon and the Melodies just to clear the air, clear my head, and set my mind on neutral-relaxed so that I can dive into the blank page.
Magoria from Camera Obscura
Rammstein – Sehnsucht
Whenever I want music that sounds like angry orcs going to war, or need an adrenaline boost to my writing in general, I can always count on late 90‘s prog metal band Rammstein. I like all their albums, especially when I’m in a dark, aggressive mood, and it seems I always write dark action scenes faster when I’m writing to  my favorite operatic industrial band. And c’mon… Du Hast!
Depeche Mode  – A Broken Frame
This album is dark nostalgia from my tween years when I was a freak at a time in suburban Ohio when it was freakish to to listen to anything that wasn’t classic rock, heavy metal or a hair band. Finding new wave back then was like when I found horror films. It was release. It was quirky. It was dark. And it was home. Still is.
Daft Punk – Tron Legacy Soundtrack
Daft punk has always kicked ass, but with their most recent endeavor, they’ve really crossed the line into the world of the cinematic.  It’s also nice to hear something epic when I’m working that’s not opera or classical or even classically inspired. With this album they’ve captured the epic storytelling flame and they’ve done it on their own terms. It’s big. It’s otherworldly. And it takes you somewhere. I like that. 
Interpol – Our Love to Admire
Interpol protests but doesn’t whine. I love all their albums, but especially 2007’s Our Love to Admire. I tend to put them on when I’m writing grim fantastical cityscapes. There’s something undeniably NYC underbelly about their sound, and when I’m writing about subways, dark alleys, and evil societies, Interpol is my go to band.
Camera Obscura Demon
John Digweed
I worked with John in 2001 on my first feature film, STARK RAVING MAD. It wasn’t horror, it was a heist comedy set in a rave and back then you were either listening to Oakenfold or Digweed, and I fell firmly in the Digweed camp and was thus thrilled when he came on board to score my film. I don’t have a favorite Diggers album, because all the Bedrock albums provide a driving, pumping pulse to write to that fuels me forward. So pick one. They’re all pretty amazing.
 
Yeah Yeah Yeahs – Show Your bones
I was way too young for the CBGB era of NYC indie and punk rock, but thanks to the Yeah Yeah Yeahs, I get to feel what it mighta been like. I tend to pop them in when I’m writing anything that feels dirty, drunk or pissed off. There’s a raw, filthy energy to their sound, like a flooded city sidewalk after a rain, and it chills me… but in a good way.
Eisbrecher – Eisbrecher
Similar in energy to Rammstein, I like the aggression and fury that they throw into their music and it can be a driving force when fury and rage are the order of the day.  Their self titled album gets my blood going and inspires me to all kinds of dark imaginings. 
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Music

‘Wolfenstein 3D’, ‘Doom’ Composer Bobby Prince Has Passed Away at 81

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1 day ago

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June 21, 2026

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Bobby Prince, the composer who provided the soundtracks to legendary titles such as Wolfenstein 3D, Doom, and Doom II, has passed away.

Prince’s family confirmed the composer’s death on June 16 late last week at the age of 81. No cause of death was released.

id Software, the company that gave Prince his first job in the industry, paid tribute to the composer, referring to him as a “video game music pioneer.”

Indeed, in addition to providing the soundtracks to id Software’s hits in the FPS genre, Bobby Prince also provided the soundtracks to other id Software classics, such as portions of the scores for Commander Keen series and the forerunner to the modern FPS, Catacomb 3-D. Prince also worked with Apogee Software and 3D Realms, providing the soundtrack for Blake Stone: Aliens of Gold, and teaming with Lee Jackson for Rise of the Triad and Duke Nukem 3D.

Bobby Prince’s death comes just after the Library of Congress announced back in May that his soundtrack for Doom would be preserved in the National Recording Registry.

The soundtrack for Doom and its sequel took inspiration from designer John Romero‘s collection of CDs at the studio, which included the likes of Alice in Chains, Pantera, and Metallica. In spite of the limitations composers faced with the sound cards of the era, Prince was able to replicate riffs from songs like “Master of Puppets” and “Painkiller” for tracks like “At Doom’s Gate”, the iconic opening track for Doom‘s first level, E1M1.

For Doom II‘s soundtrack, Prince continued to employ the same tactic, lifting rifts from songs like “Sex Type Thing”, “After All (The Dead)”, “South of Heaven” and more.

In addition to composing, Bobby Prince was also a practicing lawyer, and had pursued a career as an attorney before making his way into the video games industry.

Bobby Prince is survived by his wife Connie, and his sons, Robert Caskin Prince IV and Andrew (Cristy) Prince.

 

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