2. The New Ambassador (2:33)
The first of the calmer tracks comes next with a fully orchestral concert version of the love theme, relying heavily on Golden Age strings. The piano part actually makes it sound more like a pop song, although it's not too noticeable. The love theme is a soaring, integral part to the score, although most people won't be expecting it after "Ave Satani."
3. Killer's Storm (2:52)
We're back to ominous choral moanings with another Stravinsky-esque action cue. This time they're doing unearthly chromatic glissandi both up and down the scale. Like the rest of the score, it's extremely unnerving, especially when the strings join them in the glissandi. Finally, this exhausts itself with a towering vocal glissando that mutates the music into a chopping string figure with the chorus jumping in at odd intervals yelling out "Satani!" What's really unnerving is when Goldsmith somehow makes the men do this in a soprano register.
4. A Sad Message (1:42)
It seems that Varese is taking the "concert" approach with assembling this album, alternating violence with love theme cues. This one isn't particularly noteworthy - just a variation on the love theme followed by ominous suspense music.
5. The Demise of Mrs. Baylock (2:52)
Goldsmith is back with his demonic chanting, making the singers do even more unnatural things with their voices. This one begins with yelling sopranos echoed by the bass, all over a chopping, descending string ostinato. More of the dissonant orchestra/chorus march forms the middle section, which is probably the most dissonant we've had so far. Next, the orchestra continues with an Alien-like dissonance section while the chorus does some kind of weird hissing effect, climaxing in a huge yelling of "Satani!" More of the first section leads into the final battle - bass voice glissandi followed by high-pitched screaming.
6. Don't Let Him (2:48)
Now we alternate again to another love theme cue. This one seems like the second half of A Sad Message, although Goldsmith inserts more orchestral dissonance into it.
7. The Piper Dreams (2:39)
This is the only unfortunate track on the album. Apparently, the producers also thought the love theme sounded like a pop tune, so they turned it into this. No more needs to be said.
8. The Fall (3:42)
This one begins like an even more dissonant recap of "Don't Let Him" with the love theme, but later turns into almost a comic version of the "Ave Satani" theme. It's quite entertaining, actually. Of course, at the end of this the chorus goes back to yelling dissonance and grotesque orchestral effects.
9. Safari Park (2:04)
Again, Goldsmith blends the score's two contrasting styles. This track begins like any of the others with a carefree rendition of the love theme, but eventually degrades into yet more choral chanting. That material sounds like a dream-like recap of "Killer's Storm," complete with string glissandi. At the end of the track is an unnerving variation on the love theme.
10. The Dog's Attack (5:50)
Out of all the tracks, I think this one has the most to be scared about. The first few minutes are completely unnerving: low, unearthly mumblings in the bass that sound like grotesque permutations of Catholic monks. Also of note are a few orchestral interludes with high, dissonant strings that sound like what he would later use for Alien. After a gradual building into a fortissimo level, the voices perform yet another huge glissando into darkness. In the second half of the cue, Goldsmith perhaps takes the cue's title a little too far and has the bass voices barking like dogs in a hugely frightening action cue. Also in this section is a return to the main theme with the choir turning it into an action cue.
11. The Homecoming (2:43)
This track is probably the most noteworthy of the quieter tracks. The composer creates some sympathy for Damien's parents by playing their theme helplessly in the background of deathly quiet dissonant strings for the majority of the cue.
12. The Altar (2:00)
For the giant finale cue, Goldsmith reprises The Dog's Attack, but now with pipe organ and virtuoso piano runs. After a short episode with the choir whispering out of control, we get a final reprise of Goldsmith's "Ave Satani" theme.
Overall, fans of Goldsmith, horror scores, and/or atonal music are the
people that would enjoy this the most. Just don't listen to it alone
in the dark.