Hellraiser
A young woman must confront the sadistic, supernatural forces behind an enigmatic puzzle box responsible for her brother’s disappearance.
Original Score by Ben Lovett
"Ben Lovett’s echoing score plays a key part in building the atmosphere. Pulsing, haunting, and at times beautiful."
— Nerdist
"Ben Lovett‘s score, wisely keeping Christopher Young‘s original theme while still building something fresh, completes the film’s dangerous sensory appeal."
— Film School Rejects
"The challenge for Ben was to create a score that sounded like both a Hellraiser movie and a David Brucker movie, while also furthering his own style as a composer. The result is a unique blend of the synthetic and the classical, of beauty and horror."
— Composer Magazine
"Wisely reprising Christopher’s Young’s majestic themes and gonging Cenobite announcements from “Hellraiser” and “Hellbound,” Lovett more than brings his own voice to the musical mythos."
— Film Music Institute
"An exquisite blend of legacy and Lovett’s own sonic flavor, the music for the new Hellraiser walks that blood-soaked wire beautifully."
— Dread Central
"There are a lot of subtleties and nuances, not just with the permutations of Young’s themes but more broadly. It maintains some of the brooding Gothic atmosphere of the original while giving a modern (and much more textured) twist, striking a balance between homage and invention."
— The Film Scorer
"Lovett very shrewdly only flirts with Young’s familiar themes throughout much of his score, and it (and the film) is better for it... before finally delivering that iconic melody in “Such Sights To Show You,” orchestrated almost as a triumph. For listeners, that’s exactly what it is."
— Fangoria
"In addition to his own distinctive use of electronic elements and discordant, warped instrumentation, (Lovett) finds ways to weave in Christopher Young’s classic theme from the 1987 original, tying it to Hellraisers of the past while cementing Bruckner’s version as its own unique beast."
— The Spool
Hellraiser
[Vinyl]
Unleashing the cacophony of hell is Ben Lovett (SYNCHRONICITY, THE NIGHT HOUSE), who brings a fresh angle to the music of the franchise while still respecting the epic neo-gothic palette of original composer Christopher Young. Lovett’s score is both seductive and sickening, using the beauty of the piano and the ferocity of low-frequency electronics to paint a sordidly stunning picture of Riley’s demented ordeal in the world of hell. It’s also patient to a fault, content to sit back and not give you the empty pleasures of everything at once, instead carefully edging until the full power of the cenobites is ready to be released—an experience beyond limits. (Charlie Bridgen)
