"Deliver Us From Evil " Soundtrack Lyrics

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"Deliver Us From Evil (Original Motion Picture Score)" Soundtrack Description

Overview

Can a possession thriller play like a cop procedural and still leave space for classic rock to haunt the walls? Deliver Us From Evil (2014) answers with a split-personality soundtrack: Christopher Young’s unnerving, textural score drives the casework while needle drops by The Doors bleed into the narrative like messages from the other side. The film’s Bronx grit meets liturgical dread; one moment we’re in a flooded basement, the next a lyric whispers through a crime scene.

Young’s score supplies the pulse—low strings, processed percussion, Latin undercurrents—while source cues (notably “Break On Through,” “People Are Strange,” and “Riders on the Storm”) surface as clues, taunts, and, occasionally, auditory hallucinations. The combination gives the film a distinct identity: a Jerry Bruckheimer–produced cop story braided with exorcism cinema, glued together by a score that grinds and a rock canon that insists on thematic resonance. Trade outlets like Variety and Newsday even singled out the Doors motif in reviews at the time.

Questions & Answers

Is there an official soundtrack album?

Yes. The score album Deliver Us From Evil (Original Motion Picture Score) by Christopher Young was released digitally in 2014; a widely available edition is on Madison Gate Records (Sony Pictures’ music arm).

Who composed the score?

Christopher Young composed the original score, continuing his collaboration with director Scott Derrickson.

Are The Doors actually used in the movie?

Yes—“Break On Through (To the Other Side)” recurs thematically (even quoted in-dialogue), with additional cues like “People Are Strange” and “Riders on the Storm.”

What label carries the digital score release?

Madison Gate Records handles the digital release under license from Screen Gems.

Is there a separate “songs” compilation?

No official multi-artist “songs” album was issued; licensed tracks (e.g., The Doors, Spanish Gold) appear in-film/credits alongside Young’s score.

What track underscores the climactic exorcism?

Young’s long-form cue often listed as “Exorcism and Recession” anchors the finale.

Notes & Trivia

• The movie’s plot explicitly quotes “Break On Through” in a zoo sequence—turning a Doors lyric into a clue.
• Reviews at release called out an “idiosyncratic soundtrack by The Doors,” unusual for a studio exorcism film.
• The official score album runs ~57 minutes across 14 tracks; the centerpiece exorcism cue stretches past eight minutes.
• Christopher Young’s horror pedigree (from Hellraiser to Sinister) informs the score’s mix of ritual and industrial textures.
• The trailer rolled out on YouTube in March 2014—its sound design previewed the score’s scraping, breathy timbres.

Genres & Themes

Liturgical-horror scoring → ritual vs. reason: Low-register strings, chant-like figures, and drum ostinatos frame the film’s “police logic meets demonic ritual” motif.

Classic rock as omen → doors between worlds: The Doors’ lyrics double as plot graffiti and psychic trigger—rock history as EVP.

Ambient/industrial textures → urban dread: Dark ambient and noise-adjacent cues (score and select licensed cuts) smear the Bronx night with metallic hiss and subterranean rumble.

Tracks & Scenes

“Break On Through (To the Other Side)” — The Doors
Where it plays: Recurs as a thematic motif; a possessed woman mutters/speeds through its lyrics in the Bronx Zoo lemur pen; the phrase surfaces in case notes and encounters.
Why it matters: The lyric becomes a thesis statement for “crossing over,” turning a needle drop into narrative architecture (diegetic and psychological).

“People Are Strange” — The Doors
Where it plays: Alluded to on-screen (e.g., mirror scrawl) and used within the film’s Doors thread; appears in the licensed-music credits.
Why it matters: Frames Sarchie’s alienation—how proximity to evil warps perception of crowds, suspects, even family.

“Riders on the Storm” — The Doors
Where it plays: Bar/ambient usage tied to Sarchie’s headspace; part of the film’s recurring Doors palette.
Why it matters: Thunder-and-rain sound design mesh with Young’s stormy textures; the cue functions like weather inside a character.

“Soul Kitchen” — The Doors
Where it plays: Source-music placement (jukebox/bar setting) credited in-film.
Why it matters: Extends the Doors motif beyond the obvious hits, keeping the classic-rock thread cohesive.

“Out on the Street” — Spanish Gold
Where it plays: Contemporary source cue heard during a public setting/establishing beat.
Why it matters: A brief modern texture that contrasts with the vintage rock and the archaic feel of the score.

“Sin Nanna” — Sunn O)))
Where it plays: Background tension-builder aligned with the film’s drone-heavy atmospherics.
Why it matters: Drone metal’s weight dovetails with Young’s low-end design—feel it before you register it.

Score highlight: “Exorcism and Recession” — Christopher Young
Where it plays: The climactic exorcism sequence in the precinct, structured as a long, escalating ritual.
Why it matters: A showcase of Young’s control over space and breath—ritual percussion and choral colors tighten like a vise.

Music–Story Links

Clue-as-chorus: When a suspect repeats “Break on through…,” the film literalizes the idea that evil seeks a doorway; the lyric becomes evidence, not ambiance.

Weather inside the mind: “Riders on the Storm” and the score’s rain-swept textures synchronize—storms outside, storms within—until the exorcism releases pressure.

Alienation mapped to melody: “People Are Strange” shades Sarchie’s paranoia during investigations, mirroring his slide from skeptic cop to believer.

How It Was Made

Director Scott Derrickson tapped Christopher Young for a score that could live next to gritty night-shift policing. The design leans into ritual percussion, basso drones, and dissonant string writing, with cues sequenced to treat interrogations and exorcisms as parallel confrontations. Licensed tracks—especially The Doors—were threaded purposely through the narrative, not just the end credits, so rock history could “speak” inside the investigation.

Reception & Quotes

Contemporary coverage highlighted the uneasy, effective mix of classic rock and oppressive score. Newsday praised the “idiosyncratic soundtrack by The Doors,” while Variety underscored how the film plays like a genre mashup with strong atmosphere.

“An idiosyncratic soundtrack by The Doors makes the clichés more tolerable.” Newsday

“A professionally assembled genre mash-up… atmosphere to spare.” Variety

Additional Info

• The digital score carries a © Screen Gems credit and is issued via Madison Gate Records.
• Several dark-ambient selections (e.g., Atrium Carceri/Sabled Sun) appear in rights credits and scene beds.
• The trailer debuted online March 7, 2014, ahead of the film’s July 2 U.S. release.
• No separate “songs” CD emerged; the Doors placements live only in-film and in music credits.
• For collectors: later storefronts re-dated the digital album in 2020 while keeping the same program.

Technical Info

• Title: Deliver Us From Evil (Original Motion Picture Score)
• Year / Type: 2014 / Movie
• Composer: Christopher Young
• Select licensed cues: The Doors (“Break On Through,” “People Are Strange,” “Riders on the Storm,” “Soul Kitchen”), Spanish Gold (“Out on the Street”), Sunn O))) (“Sin Nanna”), plus dark-ambient tracks credited on-screen.
• Label / rights: Madison Gate Records (under license from Screen Gems)
• Availability: Digital/streaming widely; 14-track album (~57:00).

Canonical Entities & Relations

Entity	Relation	Target
Christopher Young	composed score for	Deliver Us From Evil (2014)
Scott Derrickson	directed	Deliver Us From Evil (2014)
Jerry Bruckheimer Films / Screen Gems	produced / distributed	Deliver Us From Evil (2014)
Madison Gate Records	released (digital)	Deliver Us From Evil (Original Motion Picture Score)
The Doors	performed	“Break On Through,” “People Are Strange,” “Riders on the Storm,” “Soul Kitchen” (licensed in-film)

Sources: Variety; Newsday; Wikipedia; Apple Music; Spotify; Film Music Reporter; Discogs; Soundtrakd.

Name of the movie unfolded from "Devil" in the trailer of the film. Horror, the plot of which is terribly interesting. A police officer, who begin to investigate one incomprehensible human behavior in a short time become embroiled in the whirlpool of events when the whole cavalcade of people is possessed by evil. Such films are periodically filmed to maintain public interest to the pulsating theme of exorcism and possession by the devil. The plot of the film, being not straight, surprises and scares and is a horror, both psychological and visual one, and even actively uses the tricks of zombie movies. When such a mixture is there, then at some times it becomes very, very scary, just till the soreness of the mouth on the teeth. The filmmakers concentrated colors even more, claiming that the film is based on real events that have taken place, and even the police files were examined with an intention to re-create the whole situation. In music, we find children's melody Pop Goes The Weasel that has already become a classic of horrors, which in certain moments at the screen horribly accelerates the blood. As many as three songs borrowed from a band The Doors, one of which is an imperishable hit (Riders On The Storm). One of the singers – Spanish Gold – sings a melody of pop genre in such a style that it is irresistibly reminiscent of another, the genre of dance, BeatFreakz's "Somebody's Watching Me". No genre has complete domination. Here pop, rock, classic and country music woven organically. Guess, the first two still hold the vast majority, but here only the sound of The Doors is a professional one. All others are either amateurs or garage sounds.

November, 04th 2025

More about the movie 'Deliver Us From Evil': IMDb, Wikipedia

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