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With horror films, there is almost always something that
redeems even the worst of them. Pearry Reginald Teo’s recent direct-to-video
potboiler NECROMENTIA is far from the worst, but it’s deeply flawed, cribbing
wholesale from both SAW and the HELLRAISER films to mediocre returns. And yet
even at its lowest, if you keep your ears open and your senses keen, you’ll
notice that the defining element of the picture is the way it sounds. As the
camera prowls down low-budget corridors and mazeways, a suffocating blanket of
drones, melancholy washes and chattering noises threaten to turn NECROMENTIA
into something it wouldn’t otherwise be…scary.
NECROMENTIA’s score was composed by KILLER PAD’s Timothy
Andrew Edwards, a musician who has spent his life loving and analyzing not only
horror films, but the pulse, the music, that often gives them their secret
power. His work here—available as a digital release through iTunes and
Amazon.com—is near-brilliant, an almost unbearably oppressive meltdown of aural
darkness, but one filtered through a very clear and profound warmth, a humanity
that NECROMENTIA the film otherwise lacks.
It’s clear that due to NECROMENTIA’s obvious creative
blueprint, Edwards is channeling Christopher Young here, but—as much as I adore
Young’s work on the first two HELLRAISER films—Edwards betters it, adding doses
of experimentalism that echoes the “lost” score from HELLRAISER by British
art/noise collective Coil. The digital soundtrack features full-length suites
like “The Claw” that are very much like mini-operatic movies in themselves, and
even the stings and cues that pad out the 23-track collection have vitality and
Edwards’ NECROMENTIA score ultimately does what every great
soundtrack release needs to do: It exists as a stand-alone listen separate from
its onscreen showcase. Fans of jet-black ambient horror should check this stuff
out. For more information on the score and how to order, go to www.timothyandrewedwardsmusic.com.
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