Blackest Rainbow records has opened up pre-orders for the soundtrack to 2013’s revenge thriller Blue Ruin. Composed by brothers Brooke and Will Blair, the core is heavily influenced by horror films of the 80’s and their synth scores and yet also has elements of sinister ambience and classical melodies.
Blackest Rainbow is releasing the soundtrack on vinyl with two color variants. The first edition will be 180-gram blue vinyl with a rust haze and will be limited to 150 copies. The second edition is also 180-gram blue vinyl but this time with rust splatters and is also limited to 150 copies.
You can pre-order the soundtrack via Bandcamp. Shipping will occur in December. Head below to stream the music, which is perfect for creating a terrifying Halloween experience.
Jeremy Saulnier’s Blue Ruin premiered at 2013 Cannes Film Festival to great critical acclaim and won the FIPRESCI Prize. It gained distribution and opened in the US to April 2014 to a great response from critics and audiences.
This revenge thriller focuses largely on the consequences of revenge, and the main act of revenge you expect will be the focus of the film happens early on and it spirals progressively into even darker and grim territory, dramatically enhanced by the score by brothers, Brooke and Will Blair. The relationship between composers and director has been long standing, having all known each other since they were kids, with Jeremy and the film’s Macon Blair, who plays lead protagonist Dwight, working on films for quite sometime. Macon, also happens to be the elder sibling to Brooke and Will. Brooke and Will composed music to most Jeremy’s previous work, and Macon also starred in some of this output.
Being so familiar with one another personally, Jeremy’s horror and 80s inspired early work, and his love of Carpenter’s music, the brothers settled a synth based score, which feels remarkably organic, and at times even almost classical. Minimal tones gliding through one another, with the tense and melancholic themes of the film, percussion seemed like it would detract from the tone of the film. However at times there is a slight percussion sound, which was created from a sample of Macon’s heartbeat, that was unexpectedly captured on set by his lavalier mic on set. Editor Julia Bloch sent them a short file, which was manipulated into a “drum”. It seemed appropriate to incorporate Dwights’ actual life force, his heartbeat into the score. The intensity of this picture is driven home through the power of this score.