"13 Sins" Soundtrack Lyrics

"13 Sins (Original Motion Picture Soundtrack)" Soundtrack Description

Questions and Answers

Is there an official soundtrack album for 13 Sins?

Yes. 13 Sins (Original Motion Picture Soundtrack) by Michael Wandmacher was released in April 2014 on ScreamWorks Records / MovieScore Media and is available on major platforms.

Who composed the score?

Michael Wandmacher composed the original score, leaning into uneasy electronics and tense orchestral writing.

What’s the end-credits song?

“Rise (Kye Kye Remix)” by Josh Garrels plays over the end credits, a cool-down after the film’s final escalation.

Are there any recognizable classical pieces in the film?

Yes. “Canon in D” (arr. Udi Harpaz) and Julius Fučík’s “Entry of the Gladiators” appear in-story alongside the score.

Who handled music supervision and clearances?

Music supervision was handled on the film by Laura Katz (music supervisor) with licensing support credited on the picture.

Does the album include every song heard in the film?

No. The album focuses on Wandmacher’s score cues; certain source songs and diegetic pieces are not on the OST.

Notes & Trivia

• The OST was timed with the U.S. release window in April 2014 and issued under ScreamWorks Records, an imprint associated with MovieScore Media.
• On digital stores, rights metadata lists ℗ 2014 CEG Rights B.V., a common distributor credit for MovieScore Media titles.
• Lorne Balfe’s library cue “Final Resolution” is heard in-film as source music, a rarity alongside a single-composer thriller score.
• “Canon in D” shows up diegetically, undercutting a nominally wholesome setting with creeping dread.
• The end-credits placement of Josh Garrels’ “Rise (Kye Kye Remix)” gives a reflective coda after the last “task.”

Overview

Why does a hymn-sweet wedding piece share a film with buzzing synths and blood-rush percussion? Because 13 Sins lives on contrast: polite surfaces vs. a game that shreds them. Michael Wandmacher’s score stays laser-focused on Elliot’s mounting compromises, tightening the screws without showboating.

Across ~48 minutes, the album moves from jittery pulses (“13 Sins (Opening)”) to metallic suspense (“Eat the Fly”) and hush-then-slam set pieces. Occasional source cues—marches, anthems, and a woozy end-credits indie remix—interrupt the sonic claustrophobia on purpose. It’s a pressure cooker that lets the steam hiss just enough to keep you listening. (as reported by Variety’s SXSW coverage)

Genres & Themes

• Electro-thriller textures → moral slippage: Distorted bass beds and ticking patterns mirror Elliot’s “just one more task” rationalizations.
• Orchestral stabs → consequence: Brass clusters and string surges announce when the game bites back.
• Diegetic classics → social mask: “Canon in D” and ceremonial cues sell normalcy right before it fractures.
• Ambient suspensions → surveillance paranoia: Long, held pads suggest the Caller is always listening.

Key Tracks & Scenes

“13 Sins (Opening)” — Michael Wandmacher
Where it plays: Title/opening montage; non-diegetic.
Why it matters: Establishes the rulebook: dry pulses, clipped motifs, and a brittle stereo field that tightens as the “game” calls.

“Kill the Fly” — Michael Wandmacher
Where it plays: Early “task” escalation; non-diegetic.
Why it matters: A simple act becomes a moral lever; the cue sharpens mundane sounds into a dare.

“Eat the Fly” — Michael Wandmacher
Where it plays: Rising-stakes mid-film challenge; non-diegetic.
Why it matters: Nasty glissandi and gulping low end track disgust turning into complicity.

“The Nativity Scene” — Michael Wandmacher
Where it plays: A public setting gone wrong; non-diegetic with diegetic bleed.
Why it matters: Sacred imagery meets profane gameplay; the harmony sours just when decorum should hold.

“Rise (Kye Kye Remix)” — Josh Garrels
Where it plays: End credits (~01:28 on some releases); diegetic to credits only.
Why it matters: Offers a haunted exhale—less triumph, more inventory of what’s been traded.

Track–Moment Index (compact)

Music–Story Links (characters & plot beats)

• When Elliot accepts the first “easy” task, the score’s metronomic tick is almost friendly. By task three, the same pulse feels like a countdown—same motif, new moral weight.
• Source pieces (“Canon in D,” anthem fragments) paint safe community spaces; Wandmacher then corrodes them with synth grain the second Elliot crosses a line.
• Late-film cues thin out: fewer notes, more silence. It plays like the Caller removing safety rails—nothing to hide behind now.

How It Was Made (supervision, score, behind-the-scenes)

Composer Michael Wandmacher built the score around percussive electronics with sharp orchestral punctuation, fitting director Daniel Stamm’s preference for tension without melodrama. The album landed via ScreamWorks Records in the week of the U.S. release. (as reported by Film Music Reporter)

Music supervision was led by Laura Katz, whose credits span festival titles and studio thrillers; here, her clearances weave in marches, anthems, and classical staples without breaking tone. (per trade bios and festival coverage)

Reception & Quotes

Reviews of the film were mixed, but trades consistently noted Wandmacher’s contribution as part of the craft spine alongside editing and camera. (per The Hollywood Reporter)

“ScreamWorks Records will release a soundtrack album for the horror thriller 13 Sins.” Film Music Reporter

“Coinciding with the film’s US premiere on 18 April 2014, ScreamWorks Records releases the score for 13 Sins.” Kinetophone

The OST remains accessible on streaming storefronts, and individual cues appear on the composer’s topic channel—handy for quick reference and classroom clips. (as stated in a 2014 trade roundup)

Technical Info

• Title: 13 Sins (Original Motion Picture Soundtrack)
• Year: 2014
• Type: Film score (with select source songs in the film)
• Composer: Michael Wandmacher
• Music Supervision: Laura Katz
• Label / Rights: ScreamWorks Records / MovieScore Media; ℗ 2014 CEG Rights B.V. (digital)
• Album Length: ~48 minutes, 20 tracks (no full tracklist printed here)
• Notable In-Film Placements: “Rise (Kye Kye Remix)” — Josh Garrels (end credits); “Canon in D” (Udi Harpaz arrangement); “Entry of the Gladiators” — Julius Fučík; “Final Resolution” — Lorne Balfe
• Release Context: U.S. theatrical/VOD rollout mid-April 2014; album released the same week
• Availability: Streaming on major platforms; digital purchase widely available worldwide

Canonical Entities & Relations

Sources: Variety; The Hollywood Reporter; Film Music Reporter; Kinetophone; Spotify; Apple Music; IMDb; WhatSong.

October, 22nd 2025