The 1982 slasher film, Unhinged, is a largely forgettable motion picture, though one aspect of it is exceptional—the original score.

Shot on a shoestring in Portland, Oregon, Unhinged is the first of just two movies directed by Don Gronquist (he also co-wrote the picture). Gronquist, like so many other slasher filmmakers at the time, took inspiration from two films that highly influenced the horror subgenre, Psycho (1960) and The Texas Chain Saw Massacre (1974). The Unhinged plot concerns three young women who drive to a music festival, but after a car accident in a rural area, they are taken in by a dysfunctional family. Eventually, a mysterious figure emerges and begins offing the women. In what was surely an attempt to super-size this slasher, the killer uses large, bladed tools—a scythe, an ax, and a machete. The murders aren’t all that graphic, though we see the bloody aftermath.
 

 
In the UK, Unhinged appeared in theatres uncut, but was subsequently labeled a “video nasty,” though it’s relatively tame when compared to other “nasties.” It didn’t come out on home video in the country until 2004.
 

 
Unhinged is by no means a good film. Most of the players in the small cast have no discernable acting ability, the screenplay is full of holes, and despite its relatively brief running time (less than 80 minutes), the pace is sloooooow. Having said that, it’s not without merit. There’s some nicely framed shots, the surprise ending is impressive, and the synthesizer soundtrack is so great it’s often scarier than the action on screen. 

The music for Unhinged was written by little-known composer, Jonathan Newton. His stellar score is easily the best part of the picture. Though the work has never been offered as a standalone release, it’s developed a cult following amongst fans of slasher film music.

In 2014, FACT magazine made a list of “The 100 greatest horror soundtracks,” and Newton’s Unhinged score was their #40. Not too shabby.

Newton’s score for synth marries Carpenter-style moodiness with unusually dynamic drum programming, and, simply put, ticks all the boxes: genuinely killer theme, impressive atmospherics, occasional moments of unsignposted lunacy. Newton never really got a proper break—other low-key scores include 1985’s Shadow Play and another Gronquist film, 1995’s The Devil’s Keep—which is a shame, considering the obvious chops on display. (FACT magazine)

Have a listen, after the jump…