An American Haunting
Reviewed by Hans Petter Bjerva
May 31, 2006

With the advent of MovieScore Media, Mikael Carlsson has created an outlet for up and coming film music composers. Despite still being in the starting pit, the label has been very productive. The latest release from the Swedish label is yet another debutant; the score for An American Haunting by Caine Davidson. The movie is based on the somewhat dubious claim that it is the only recorded incident in which people have actually been killed by ghosts in American history. Director Courtney Solomon debuted in 2000 with Dungeons & Dragons as a major Hollywood director. The cast, featuring Donald Sutherland, Sissy Spacek, James D'Arcy and child-star Rachel Hurd-Wood should ensure a suitably ghostly experience.

Since An American Haunting is composer Davidson’s debut, we are venturing into the score with all sheets blank. The horror movie genre and all the music that comes with it usually bear a set of predetermined rules that have been in place since the golden age. However, from time to time a horror score manages to break those rules and actually offer something new. Davidson’s score for this film manages just that.

The score begins very subtly, but soon gives way to thunderous music led by the massive string and percussion sections of the London Symphony Orchestra. In “Waking from the Nightmare” we are first introduced to one of the few themes that make up for this score, all very alluring, with soft violins and harp. Haunting is not exactly the type of score which is filled with prominent themes, but still various motifs appear throughout although scarcely and almost unnoticeably at times.

“A Violent Attack” features a considerable amount of sound effects which pop up whenever a ghostly or haunting voice is required, likely intended to make the cue scarier. This kind of sound design approach proves unnecessary however, and is ultimately disruptive to the listener. In

“The Cave” we’re introduced to the vocal talents of Jake Burnett for the first time. As a children’s song, this might seem a bit too cheesy to be included in a horror score. But despite being a clich&eactute; so frequently used in the horror music genre, this particular song manages to sneak up and gain hold of you very effectively.

“Carriage Attack” is one of the best cues of the score. Davidson proves here that he is capable of producing depth and meaningful layers within his music. Aided by the excellent performance of the orchestra, you’re surely in for a great ride.

The composer has successfully managed to create an excellent and dynamic horror score of mood and feeling, worthy of a good ghost tale. The fact that a young and relatively unknown composer managed to create such a vast musical soundscape with distinctly brilliant dynamics is indeed admirable and offers glimpses of a bright future for him. The last time I had the pleasure of listening to such a good horror movie score was “The Others” by Alejandro Amenábar.

Claine Davidson has indeed created a fine score here. My one complaint, which prevents this from getting five stars, is his unfortunate use of sound effects, which I could easily do without. That detail aside though, this is an incredible debut from a composer I surely hope to hear more from in the future. A lot more!

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