Us Soundtrack

“Us” is a gripping 2019 psychological horror thriller directed by the brilliant Jordan Peele. It captivates not only with its graphics and storytelling, but also with its music.

Well, the soundtrack for this film is pretty dope and was dropped by Back Lot Music in 2019. The genius behind the musical score is Michael Abels, and this isn’t his first work with Peele.

Michael Abels previously composed the score for Peele’s debut, “Get Out”. While he has made significant contributions to the film “Detroit” (2017), “Us” is only his second full feature composition. Abels has this unique knack for understanding Peele’s vision.

Peele is the kind of guy who loves to vibe with the music during pre-production. It helps him get into the groove and envision the film’s world. The movie’s theme was all about duality, and Peele wanted the music to reflect that. Abels experimented with a mix of traditional and unique sounds. He played around with instruments from various cultures, like the violin, cimbalom, karimba, berimbau, and didgeridoo.

Abels didn’t want to tie characters down with specific instruments. But there were a few exceptions. Like Umbrae’s scenes, that cimbalom sound was perfect for her. And when it came to Red, the solo violin totally captured her essence.

One standout track, “Beach Walk”, fuses instruments from various cultures, like the karimba, berimbau, and didgeridoo.

“Beach Walk” is like a breath of fresh air. It’s a brief moment of respite amidst the tension, capturing the serenity and uncertainty of a walk on the beach.

But what really stands out in the soundtrack? The choir! Peele specifically wanted those haunting voices in the mix.

One track you should totally listen to is “Anthem.” Abels wanted it to sound like some spooky march. He used children’s voices in a way that would give you chills. They aren’t singing in any language. It’s all about the vibes and emotions they convey. It’s eerie, it’s mysterious.

This track is like the forewarning of an impending storm. It’s a rising choir that crescendos with drum beats and chimes, resembling what Abels wanted to sound like an “evil march”. It’s essentially a warning sign that sets the tone for the entire film.

Some people loved the eerie choir vibes, while others felt the middle part of the score was kind of typical for thrillers.

Tim Grierson praised Abels’ ability to enhance the film’s scares, while Peter Bradshaw thought Abels’ work had the same unsettling vibe as his tracks for “Get Out”.