12 Songs, 40 Minutes

EDITORS’ NOTES

In the early 2010s, Bobby Krlic’s Haxan Cloak project charted a new frontier in sonic terror, pairing spellbinding electronics with eerie chamber strings, to supremely cinematic effect. So he’s the perfect person to score Ari Aster’s Midsommar, a Swedish horror film set beneath the midnight sun. The kitschy tones of the opening “Prophesy” flash back to the haunted ballroom music of The Shining. And it just gets darker from there, sliding from the deranged laughter and ominous string drones of “Gassed” to the bloodcurdling dissonance of a track like “Hårga, Collapsing.” The acoustic palette is the perfect match for the film’s folktale imagery, while the blinding light of the midsummer night is palpable in Krlic’s shrieking, scraping chords, which seem to deploy every frequency in the spectrum.

EDITORS’ NOTES

In the early 2010s, Bobby Krlic’s Haxan Cloak project charted a new frontier in sonic terror, pairing spellbinding electronics with eerie chamber strings, to supremely cinematic effect. So he’s the perfect person to score Ari Aster’s Midsommar, a Swedish horror film set beneath the midnight sun. The kitschy tones of the opening “Prophesy” flash back to the haunted ballroom music of The Shining. And it just gets darker from there, sliding from the deranged laughter and ominous string drones of “Gassed” to the bloodcurdling dissonance of a track like “Hårga, Collapsing.” The acoustic palette is the perfect match for the film’s folktale imagery, while the blinding light of the midsummer night is palpable in Krlic’s shrieking, scraping chords, which seem to deploy every frequency in the spectrum.

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