The Exorcist III - Vinyl Soundtrack
Discover the chilling soundtrack of THE EXORCIST III, composed by Barry DeVorzon. This 1990 supernatural horror film, penned and directed by William Peter Blatty, adapts his 1983 novel Legion. The story takes place fifteen years after The Exorcist (1973) and follows Lieutenant William F. Kinderman as he delves into a series of demonic murders in Georgetown, marked by the signature of the deceased serial killer, Gemini.
Barry DeVorzon, famed for his work on The Warriors and Night of the Creeps, crafted a dark and atmospheric score for THE EXORCIST III. This final film composition by DeVorzon features an array of synth drones, sampled chanting, synthesized and real voices, and innovative sound design.
DeVorzon shared insights about his creative process for this score, noting, "I was exploring a lot of synthesized sounds and textures, aiming to make the scenes more chilling. It was different, eerie, and had nothing to do with an orchestra. This was new territory for me – not orchestral, not rhythm-oriented. It was just a really different animal."
Original: $50.63
-65%$50.63
$17.72Product Information
Product Information
Shipping & Returns
Shipping & Returns
Description
Discover the chilling soundtrack of THE EXORCIST III, composed by Barry DeVorzon. This 1990 supernatural horror film, penned and directed by William Peter Blatty, adapts his 1983 novel Legion. The story takes place fifteen years after The Exorcist (1973) and follows Lieutenant William F. Kinderman as he delves into a series of demonic murders in Georgetown, marked by the signature of the deceased serial killer, Gemini.
Barry DeVorzon, famed for his work on The Warriors and Night of the Creeps, crafted a dark and atmospheric score for THE EXORCIST III. This final film composition by DeVorzon features an array of synth drones, sampled chanting, synthesized and real voices, and innovative sound design.
DeVorzon shared insights about his creative process for this score, noting, "I was exploring a lot of synthesized sounds and textures, aiming to make the scenes more chilling. It was different, eerie, and had nothing to do with an orchestra. This was new territory for me – not orchestral, not rhythm-oriented. It was just a really different animal."
