Ten of the best sci-fi / horror soundtracks selected by LCY

Hot on the heels of their scintillating He Hymns release last month, LCY continues to push the boundaries with their music, focussing on world building and storytelling and creating art to flesh out their sci-fi and fantsay narratives. The stories built alongisde the music are a form of creative release and healing for real-life issues, whilst the music pays deep homage to UK club as a spiritual sanctum. In light of LCY’s unique output, the rapid-rising artist put together their ten of the best sci-fi / horror soundtracks…


“One of the best short films I’ve ever seen and really so fun – lesbian bikers, aliens and buffy vampires – weird, sexy and camp the chosen music matches perfectly with the original soundtrack by Lio & Rebeka Warrior.”


“!!!!! Lipstick through the Void!!!! Mica Levi!!!!! I can’t say much, it really speaks for itself.”


“A musical adaptation/ audiobook of H.G Wells sci fi classic. I used to listen to this tape a lot as a kid and I think it could have been my gateway into soundtracks, bleep bloops and aliens.. I remember it being terrifying but it’s a bit camp too actually.”

CLIMAX (2018)

“Soundtrack curated by Daft Punk’s Thomas Bangeltier – Really even as a stand alone DJ set this would be incredible but the contrast between the big dance numbers and everything turning into a living hell is really a nightmare in the best possible way and I think it compliments perfectly.”


“Soundtrack by Alberto Iglesias who has done lots of Almodóvar soundtracks – this one I find harrowing for the way it raises the tension in key scenes but still manages to be beautiful and harmonic. It almost tricks you into thinking it’s a romance (it’s not).”


“Composed by Kôji Endô – sometimes you get these upbeat dance numbers then to some terrifying discordant strings and then ambient and then terrifying and then piano and then after the extremely traumatic ride of the final scene you get the most fire 90s jazz infused jungle/breaks tune.”


“This film uses silence, foley and diegetic music predominantly except for the repeated use of the intro song Bonehead – Naked City which basically give the villains this presence of a boxer stepping into the ring or maybe even like pro-skaters at the top of their career. Ich liebe xxx”


“I’m a musical theatre fag at heart and i stand by this as a sci-fi film although it probably isnt technically but the director Frank Oz played Yoda in The Empire Strikes Back so im going to count it in. The songs by Miles Goodman go off, especially the alien plant numbers (Audrey II respectfully).

AKIRA (1988)  

“Feels a bit of an obvious choice but for good reason – Geinoh Yamashirogumi uses a lot of choral voices, synthesis drums and ambience and its one of the only scores that actually scares the bejeebies out of me even without visual stimulus. I think it is a huge part of what makes Akira so special and has influenced my production sound heavily throughout the years.”


“The full soundtrack by Wendy Carlos and co-produced by her closest friend Rachel Elkind was written only using the Stephen King book as a reference and most of it never got used in film other than the most beautiful opening song you’ve ever heard. Wendy Carlos is one of the greatest composers of all time, she became the first trans person to ever win a grammy and was one of the only out voices of her generation. This score is testimony to her brilliance, fuck Kubrick honestly (she vowed never to work with him after) but im thankful this film and soundtrack got made. I really hope she’s out there with her cats and synths creating art and sound in peace and happiness.”

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