John Debney composed the film score. During his first interaction with Anderson, the latter described it as a "very edgy, electronic, in your face" score to be created with found sounds, demanding something out of the box, not necessarily traditional for most of the score, but in certain parts of the emotional scenes.[1] Debney used intense electronic and synthesized elements for most of the scores, though having worked on orchestral music. The emotional moments were underscored with piano and strings. Debney described the film as ten times scarier than The Silence of the Lambs (1991), and the score had to be "very moody, very scary".[1]
The score accompanied a variety of instruments and styles, which was daunting, according to Debney, having to blend those texture and color.[1] His initial idea of the score was to make it different, which was out of the norm, thereby resulting in taking mundane sounds like knocking on a piano top which sounded like a xylophone and the tuning it. He then used those sounds and pitched and filtered them dramatically.[1] He used a sound resembling the ramping up of an industrial electrical motor and an engine for three times, which highlighted the presence of the serial killer Michael (Michael Eklund), and pitched and tuned them to create a jarring atmospheric sound.[1]
James Southall of Movie Wave wrote "Those who don’t mind going to the extremes of dark, textural atmospheres may well find material here that is greatly rewarding to them; but I suspect most people will be full of admiration for the professional job the composer has done, but will never want to listen to the album again."[4] Andrew Barker of Variety and Roger Moore of The Seattle Times considered the score to be "chilling" and "terriffying",[5][6] while Jake Coyle of The Hutchinson News mentioned it to be "somewhat good".[7]
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