Soundtrack review: Tonight she comes (Wojciech Golczewski – 2018)
“Tonight she comes” is a 2016 horror film. After a girl goes missing, two of her friends and a mysterious set of strangers find themselves drawn to the cabin in the woods where she disappeared. They will laugh, they will drink, they will kiss, they will make love, and THEY MUST ALL DIE. Wojciech Golczewski wrote the score.
Just like me, Wojciech is a fan of the magical synth sound of the 80s; his scores are among my favourite synth wave albums of recent years as he is always capable to capture the purest 80s vibe without bell or whistles. Hell the man even releases his scores on cassettes and I should know since I own a couple. “Tonight she comes” is no different; right from the opening cue “She comes” a vortex opens, wider and wider and sucks me back into my favourite decade. The music is also in the sweet spot right in the middle of the dark synth – light synth scale and it doesn’t take more than a few minutes for nostalgia to kick in. The composer goes for grandeur, as much as synth music can deserve such an adjective; he goes for broad, for spacious.
As this is a film score and not a concept album the composer changes the tone of his music to mirror the evolution of the story; as this one grows darker so does the music, it becomes more fragmented, uncomfortable at times even and I have to say, there are moments like “In the moods” when I get a serious “Halloween” vibe and what better choice from a synth wave composer than to bring a small homage to John Carpenter.
“Tonight she comes” feels like a downward spiral and I imagine the movie is the same; with every passing cue the music seems to get colder, more emotionless, more visceral, more bare and I am enjoying the trip. “Campfire” takes me right back to the sci-fi dystopian worlds of the 80s and I am almost expecting a terminator to show up. “The girl” feels like rock bottom with the music almost dissolving into a pool of liquid metal. This is where the standalone listening experience gets a bit iffy even for me. I remember that this is how Johan Johannsson’s final score “Mandy” made me feel: there, as well, the composer completely submitted his music to the story and made it feel in parts as deranged as the movie itself.
“Tonight she comes” did not give me my ambient synth fix but provided me with a raw journey to the darker side of the genre; if the beginning was all warm and melodic it all changed with the advancement of the story and the nostalgia for 80s violent sci-fi flicks was all over me. This is a horror score in the truest sense.
Cue rating: 68 / 100