"Dark Places" Soundtrack Lyrics

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"Dark Places (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you score a murder that won’t sit still—part 1985 “Satanic Panic,” part adult grief? Dark Places answers with a hybrid: an electronic score that pulses like a memory you can’t shake, punctured by needle-drops that sound like teenagers making terrible decisions. It’s chilly, bruised, and—crucially—clear-eyed about Libby Day’s haunted inner life.

The official album gathers original music by BT (Brian Transeau) and Gregory Tripi alongside select source cues by Belong, Jag Panzer, The Georgia Satellites, and composer/sound designer David Kristian. The result leans synthetic—foggy pads, granular textures, sub-bass throb—then snaps into grit when the story dives back into the Midwest of the mid-80s. As AllMusic notes, the album landed mid-June 2015; and Milan Records describes it as “electronic-driven… mysterious, ethereal and hypnotic.” In the film, that translates to a steady undertow for Libby, with guitar amps and jukeboxes cutting through flashbacks when the past gets loud.

Questions & Answers

Is there an official soundtrack album?

Yes. Dark Places (Original Motion Picture Soundtrack) was released by Milan Records in 2015 (digital and CD). It’s available on major streamers.

Who composed the score?

BT (Brian Transeau) and Gregory Tripi composed the original score; additional tracks appear from Belong and David Kristian.

What song plays in the strip-club scene when Libby and Lyle find Krissi?

“Solferino (Cyberpunkers Remix)” — The Blisters Boyz, around 0:44 into the film (diegetic).

What heavy-metal track underscores Diondra’s apartment scene?

“Harder Than Steel” — Jag Panzer, around 0:35 (diegetic; amps blaring, teen bravado).

What’s the bar song when Libby visits her father?

“Keep Your Hands to Yourself” — The Georgia Satellites, ~1:01 (diegetic jukebox/bar PA).

Which song plays over the end credits?

“Never Came Close” — Belong, ~1:48 as the credits roll.

Who supervised the music?

Music supervision is credited to Laura Katz; orchestral conducting credits list Oleg Kondratenko.

Notes & Trivia

• The album mixes score cuts with source songs (metal, Southern rock, shoegaze/ambient) rather than separating them into different releases.
• Discogs credits Laura Katz as Music Supervisor and Oleg Kondratenko as conductor on the album release.
• An oft-noted quirk: the bar plays “Keep Your Hands to Yourself” in a scene set before the song’s 1986 release—an intentional vibe over strict chronology.
• IMDb lists cue titles like “Taking Care of Joey” (Jess Bailey) and the Belong pieces used in-film.
• BT’s signature micro-edits and Tripi’s modular synth textures give Libby’s present-day scenes a cool, pressurized feel.

Genres & Themes

Electronic suspense: humming drones, granular swells, and pulse-lines map Libby’s numb present. The synth beds feel clinical on purpose—trauma under glass.

Mid-80s source cues: power-metal (Jag Panzer) and barroom Southern rock (The Georgia Satellites) telegraph Ben’s teen world—status, posturing, rumor. Shoegaze/ambient textures from Belong add a smeared, dream-logic glaze to memory scenes.

Tracks & Scenes

“Come See” — Belong
Where it plays: ~0:11. Libby steps into a club; the track’s smeared guitars bloom under neon. Diegetic ambience, then it bleeds into the score’s haze.
Why it matters: Sets the film’s humid, narcotic memory tone—SoundtrackRadar pegs the timestamp.

“Shred Metal Guitar Lesson on Fast Legato Playing” — Dave Nassie
Where it plays: ~0:18 in the stables; a kid rips through a practice piece as Ben meets Trey’s crowd (diegetic, on-screen guitar).
Why it matters: Signals social gravity—Ben orbiting louder, riskier friends.

“Do You Wanna Touch Me (Oh Yeah)” — Joan Jett & The Blackhearts
Where it plays: ~0:31, after Libby’s prison visit to Ben; in flashback during a charged make-out scene (source).
Why it matters: Cheeky, dangerous; the film uses it to complicate how we read Diondra/Ben intimacy.

“Harder Than Steel” — Jag Panzer
Where it plays: ~0:35 in Diondra’s apartment; amps up the “devil-music” rumor mill (diegetic).
Why it matters: Pure 80s metal swagger—weaponized as atmosphere and as evidence against Ben in the town’s imagination.

“Solferino (Cyberpunkers Remix)” — The Blisters Boyz
Where it plays: ~0:44 at the strip club as Libby and Lyle locate Krissi (diegetic).
Why it matters: A harsh, mechanical throb; the present tense feels colder than the past.

“Keep Your Hands to Yourself” — The Georgia Satellites
Where it plays: ~1:01 when Libby visits her father in a bar (diegetic jukebox).
Why it matters: Barroom sway masking unease; also a noted timeline anachronism that critics spotted.

“If I Live or If I Die” — Cuff the Duke
Where it plays: ~1:16 while Libby and Lyle press Trey for answers (low-mix, source).
Why it matters: Bitter Americana stitching the interrogation-on-a-porch vibe.

“Never Came Close” — Belong
Where it plays: ~1:48 over end credits (non-diegetic).
Why it matters: A smeared coda; closure without warmth.

Scene timings compiled from SoundtrackRadar, cross-checked with IMDb song credits. Album presence validated against Discogs and AllMusic.

Music–Story Links

Ben’s teenage image—metal shirts, louder friends—gets a musical avatar in “Harder Than Steel.” That one song fuels the town’s appetite for satanic rumors; the movie lets us hear how a riff becomes “proof.”

Libby’s adult isolation rides on BT/Tripi’s minimalist electronics: long sustains and sub-bass pulses stand in for her dissociation. When she nears revelations, the score sharpens from foggy pads to tick-tock patterns, as if the case itself starts keeping time.

Belong’s gauzy guitars bookend the story—“Come See” at the entrance to the underworld, “Never Came Close” at the exit—reminding us that even truth arrives out of focus.

How It Was Made

The score is a collaboration between BT and Gregory Tripi, blending micro-edited electronics, modular synths, and restrained motifs. Milan Records released the album in 2015; the label also points out contributions from Belong and David Kristian. On the album credits, Laura Katz is listed as Music Supervisor, and Oleg Kondratenko is credited as conductor. The release rolled out digitally first, with a CD pressing following.

Editorially, the team leans on contrasts: non-diegetic score to cool the frame; diegetic source to heat the flashbacks. That editorial rhythm is the soundtrack’s secret weapon.

Reception & Quotes

“Electronic-driven… mysterious, ethereal and hypnotic.” Milan Records

“The music is… darker, more brooding… very nice to listen to.” Listening Groove

“All music carries the same thumping quality of the Kill Club music.” High-Def Digest

Critical reaction to the film itself was mixed-negative, but the album found its niche with fans of moody, minimalist thriller scores. AllMusic logs a June 16, 2015 release date; Film Music Reporter flagged the April 2015 early digital availability overseas.

Additional Info

• Early digital availability hit in late April 2015; a broader digital date followed mid-June; physical CD arrived in August 2015.
• Label: Milan Records (later acquired by Sony Masterworks; catalog still active).
• Two notable bar/club cues (“Solferino,” “Keep Your Hands to Yourself”) are diegetic anchors for present-day sleuthing scenes.
• End-credits pick (“Never Came Close”) is by Belong, not part of the core score team—fits the film’s haze motif.
• Jag Panzer’s “Harder Than Steel” hails from 1984’s Ample Destruction; its inclusion telegraphs the 80s metal panic.
• Some commercial songs used in the film do not appear on certain regional digital editions.
• US distribution for the film: A24 (limited theatrical + VOD) on August 7, 2015; France opened April 8, 2015.

Technical Info

• Title: Dark Places (Original Motion Picture Soundtrack)
• Year / Type: 2015 / movie
• Composers: BT (Brian Transeau), Gregory Tripi
• Additional music: Belong; David Kristian
• Music supervision: Laura Katz (album credits)
• Conductor: Oleg Kondratenko
• Label / Release: Milan Records — early digital (Apr 27, 2015, overseas), digital (June 16, 2015), CD (Aug 7, 2015)
• Selected notable placements: “Harder Than Steel” (Diondra’s apartment, ~0:35); “Solferino” (strip club, ~0:44); “Keep Your Hands to Yourself” (bar, ~1:01); “Never Came Close” (end credits, ~1:48)
• Film release context: France (Apr 8, 2015); USA (Aug 7, 2015, A24)

Canonical Entities & Relations

Subject	Relation	Object
Gilles Paquet-Brenner	directed	Dark Places (2015 film)
BT (Brian Transeau)	composed score for	Dark Places (2015 film)
Gregory Tripi	composed score for	Dark Places (2015 film)
Milan Records	released	Dark Places (Original Motion Picture Soundtrack)
Laura Katz	music supervised	Dark Places (album/film music)
Oleg Kondratenko	conducted	score sessions / album credits
Belong	performed	“Come See”, “Never Came Close”
Jag Panzer	performed	“Harder Than Steel”
The Georgia Satellites	performed	“Keep Your Hands to Yourself”

Sources: Milan Records; AllMusic; Discogs; SoundtrackRadar; IMDb; Film Music Reporter.

The soundtrack of twenty seven songs in this gloomy thriller leaves to us quite depressing mood. The film itself is gorgeous, with Charlize Theron, brilliantly played in the recent film, which also is on this site – Mad Max: Fury Road and Chloe Grace Moretz, also indescribably performed a role in the bomb-alike film If I Stay, having such an exceptional actor's talent in her 17 years. Charlize is seen recently only in films with negative energy – as if in ten years she was not in the same mood as Robin Williams had and wouldn’t do what he did. Of course, a selection of music written specifically to capture maximum from the atmosphere of this dark film with a multi-faced acting. What about only such great melodies as A Meanness Inside Me and That Night – they breaks heart. Listening to these gloomy melodies plunges you into the abyss of gloom and despair. Do not search here for something light or anything like the hope giver: film like this one has a strong, but gloomy, instrumental soundtrack. Gregory Tripi wrote one half of the selections for the film, and BT wrote the other. The rest of the composers presented here insignificantly. If you want to emphasize your life’s collapse, a crisis of existence and decay of all things, engaging in self-digging on a maximum, or if you just a Goth or a Satanist, this musical selection is for you. Begin to hear it straight from A Dark Place, which is the main theme song. It is a bit like the music before the second and fifth acts in the cult computer game named “Diablo II”. One darker another, all instrumental music here sinks you to the bottom, and even additional composition of a mixture of rock and cyberpunk, only complete the general picture of gloom, as if sealing this atmosphere of the other side of human life with own presence.

October, 30th 2025

Read about "Dark Places" on IMDb and Wikipedia

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