Another horror tale that involves lots of jumps, slashes and a rather unsavoury homicidal manic who wears a mask. In the notes the director admits that his film is a fusion of all the 80s slasher movies and the TEXAS CHAIN SAW MASSACRE, good wholesome family viewing then folks. The score is obviously a dark and foreboding one, but it is fashioned and written in such a way that the composer manages to create horror music that has substance and even a theme here and thee, it is a well conceived and highly polished work that utilises traditional orchestral sounds alongside synthesised sounds capes and effects, these however pale in the light of the of the driving and relentless orchestral score, Wiedmann bringing into play female vocals and combining them with subtle placing of woodwind that is supported by searing and strident strings, angry sounding almost growling brass, booming and frenzied percussion, the odd addition of delicately plucked harp and also solo piano that takes on the air of menace when employed. Although one would be hard pressed to find something that is, shall we say melodic, this is a score that entices the listener on to explore each and every cue, whether it be mournful sounding woods, menacing low strings or even a soft rock orientated cue that rears its head midway through complete with a distinct sounding female vocal that adds depth and originality to the cue. THE HILLS RUN RED is one of these shocker movies that people of my generation find a little bemusing, why does the girl stay there when she knows this maniac is on the prowl? Why does she go into the room when there is no light, I guess we will never know, I do know however that Wiedmann’s score is something of a thinking mans horror soundtrack, excellently performed by the Czech Film Orchestra, I hope we hear more from this composer soon.

John Mansell