"Devil's Candy" Soundtrack Lyrics

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"Devil's Candy" Soundtrack Description

Overview

How do you score a movie that worships distortion yet aches for tenderness? The Devil’s Candy answers by marrying doom-laden drones, classic/modern metal bangers, and a tactile, clanging original score. The soundtrack doesn’t just decorate scenes; it drags the characters—and us—into a slow, headbanging descent from swagger to dread.

Built around a curated “songs from and inspired by” album and a separate original score, the music maps the film’s tonal slide: familial warmth and rock enthusiasm curdle into obsession, then panic. A handful of needle-drops (from cult heavies to mainstream titans) telegraph character choices, while the score’s scraped strings, death-march guitars, and industrial textures make the house itself feel like an instrument humming with menace.

Questions & Answers

Is there an official soundtrack album?

Yes—J2 Music/INgrooves issued a digital “songs from and inspired by” album in March 2017. A separate original score album was released via Death Waltz/Mondo.

Who composed the original score?

Michael Yezerski composed the score, leaning into abrasive guitar timbres and percussive, industrial sonics.

Which metal acts are featured?

Sunn O))), Slayer, Machine Head, Ghost, Spiderbait, PJ Harvey, The Wanton Bishops, and others—sequenced to mimic a descent “from foot-stomping joy to deepest darkness.”

What song opens the film?

Metallica’s cover of “Am I Evil?” (originally by Diamond Head) blares over the opening credits—an immediate statement of intent.

What plays during the tense bathroom/hostage scene?

A choral “Dies Irae (Sequentia)” performance is heard diegetically on a TV, heightening the ritualistic horror.

Is every song on the album used in the movie?

No. Some tracks are “inspired by” the film’s arc and themes; others are heard on-screen. The sequencing tells one continuous story either way.

Can I get the score on vinyl?

Yes—the score received a Death Waltz/Mondo LP release with new artwork.

Notes & Trivia

• The director described the soundtrack as a guided plunge “from the light into the dark”—and urged listeners to play it loud.
• The score’s guitar tone for the antagonist was shaped to feel like a “death march,” not just a riff.
• A few album cuts are included purely as “inspired by” selections to complete the emotional arc on record.
• The opening needle-drop is a thrash-scene classic cover that doubles as a mission statement.
• At TIFF, the movie’s “heavy-metal horror” tag quickly stuck, and the music releases were timed to the U.S. rollout.

Genres & Themes

Drone/doom & dark ambient (Sunn O))): ritual weight, sleep-paralysis dread, the house as a living hum. Classic & modern metal (Slayer, Machine Head, Ghost): momentum, pride curdling into mania, the lure of transgression. Alt-rock & blues-garage (Spiderbait, The Wanton Bishops): the family’s foot-tapping warmth before the fall. Liturgical/choral (“Dies Irae”): judgment day grandeur that reframes violence as blasphemous ceremony.

Result: a palette where volume equals vulnerability—every kick drum thud and cymbal wash telegraphs characters skating closer to a moral cliff.

Tracks & Scenes

“Am I Evil?” — Metallica (Diamond Head cover)
Where it plays: Opening credits; a blast of thrash DNA sets the film’s sonic agenda. Non-diegetic.
Why it matters: Announces the movie’s heavy-metal worldview before any dialogue does.

“Belürol Pusztít” — Sunn O)))
Where it plays: Early in the film’s arc as the “sleeping giant” is tapped awake; used conceptually to paint darkness as a presence.
Why it matters: 16 minutes of suffocating drone that establishes the film’s doom-opera gravity.

“Shake” — The Wanton Bishops
Where it plays: Family-energy montage—a euphoric, optimistic beat while the Hellmans settle in. Non-diegetic.
Why it matters: It’s the last pure sunshine before storm clouds gather.

“Conjunctivitis” — Spiderbait
Where it plays: Move-in montage with an uneasy wink (“already dead…”). Non-diegetic.
Why it matters: Bubbles with pep yet seeds anxiety—perfect tonal foreshadowing.

“Blackfire” — Goya
Where it plays: School-run vibe with dad & daughter sharing metal in the car; diegetic energy in their world.
Why it matters: Shows the family’s genuine bond through heavy music—metal as love language.

“You Against You” — Slayer
Where it plays: At/around the gallery beat where Jesse weighs a devil’s bargain; non-diegetic propulsion.
Why it matters: Frames the crossroads choice: ambition versus family.

“Sail Into the Black” — Machine Head
Where it plays: An “inspired by” cut mirroring the narrative’s spiral as it tightens toward hellish climax.
Why it matters: Its long, brooding architecture becomes a blueprint for the film’s structure.

“Dies Irae (Sequentia)” — Aurora Surgit (with Alessio Randon)
Where it plays: Diegetic on TV during the bathroom hostage standoff.
Why it matters: Sacred music against profane violence—judgment day chanted straight into a nightmare.

“Decay2 (Nihils’ Maw)” — Sunn O)))
Where it plays: Bookends the arc; closing the album in a velvet void.
Why it matters: Leaves you vibrating with doom after the credits.

Bonus placement worth noting: A late-night backyard celebration scene has been widely identified by fans as spinning a Queens of the Stone Age deep cut, not included on the official album—an example of the movie’s crate-digging instincts at play.

Music–Story Links

Metal as family glue → metal as siren song: Early blues-garage and stoner-doom cues (The Wanton Bishops, Goya) are affectionate; later selections (Slayer, Machine Head) harden into tunnel vision as Jesse courts a darker muse.

Ritual sound vs. ritual act: The choral “Dies Irae” sanctifies a scene of abduction, framing the killer’s compulsion as a twisted sacrament and making the rescue feel like exorcism.

Bookends of dread: Sunn O))) opens the door and shuts it, letting drone function as the house’s breath—steady, oppressive, inescapable.

How It Was Made

Composer: Michael Yezerski designed a score that scrapes and grinds—amp noise, detuned guitars, metallic percussion—so images of paint and flame feel audible.

Music supervision & curation: The film’s supervision covered licensing metal staples and liturgical choral material, while the director sequenced the album like a narrative mixtape—some tracks sourced directly from scenes, others chosen to extend the story beyond the screen.

Release strategy: The “songs” album dropped day-and-date with the U.S. release; the score followed with a boutique vinyl pressing featuring new key art.

Reception & Quotes

“A horror film made in the true spirit of metal… loud, sometimes gruesome, but also winningly earnest.” The Guardian

“Kicks off with Metallica’s cover of ‘Am I Evil?’—and demands to be seen.” Bloody Disgusting

“Heavy-metal horror… brooding Biblical undertones.” Variety

Availability note: The songs compilation is digital; the score exists digitally and as a Death Waltz/Mondo LP. Trusted trade coverage confirms both.

Additional Info

• Album sequencing intentionally mirrors the film’s act structure—light → temptation → plunge.
• Not every fan-identified cue appears on the retail album; some are scene-specific clearances.
• Score LP artwork (by Matt Ryan Tobin) became a collectible parallel to the movie’s gallery motif.
• Liturgical music was licensed for on-screen (diegetic) use—rare in modern metal-leaning horror.
• Director commentary on each track was published around release, functioning like liner notes.
• Press blurbs often cite Sunn O))) as the sonic “bookends” defining the movie’s doom aura.

Technical Info

• Title: The Devil’s Candy — Soundtrack
• Year: 2017 (U.S. release)
• Type: Movie
• Composers (score): Michael Yezerski
• Music supervision: Credited supervision tied to Jonathan McHugh; director provided album-order commentary and curation.
• Selected notable placements: “Am I Evil?” (opening credits); “Blackfire” (father–daughter car vibe); “Dies Irae” (TV during hostage scene); “You Against You” (gallery crossroads).
• Release context: TIFF 2015 premiere; U.S. release March 17, 2017.
• Labels/editions: J2 Music/INgrooves (songs, digital); Death Waltz/Mondo (score, digital & LP).
• Availability: Songs album streaming; score streaming and on limited vinyl.

Canonical Entities & Relations

Subject	Relation	Object
Sean Byrne	directed	The Devil’s Candy (film)
Michael Yezerski	composed score for	The Devil’s Candy (film)
J2 Music / INgrooves	released	Songs soundtrack (digital)
Death Waltz / Mondo	released	Original score LP
Sunn O)))	performed	“Belürol Pusztít”; “Decay2 (Nihils’ Maw)”
Slayer	performed	“You Against You”
Machine Head	performed	“Sail Into the Black”
Ghost	performed	“From the Pinnacle to the Pit”
PJ Harvey	performed	“The Devil”
Aurora Surgit (with Alessio Randon)	performed	“Dies Irae (Sequentia)”
Metallica	performed	“Am I Evil?” (cover) — opening credits

Sources: Variety; Bloody Disgusting; Loudwire; Film Music Reporter.

It will be absolutely delightful to watch a movie with THAT soundtrack. Yes, it significantly differs from almost everything that is happening on our screens lately. This is a horror movie, but not just that. It tells about the essence of The Beast, very scary, very unexpectedly, and very insightly, if there is a word. A plot is not just another stupid slasher, but the fight of a man with himself (‘You Against You’ by Slayer is extremely suitable to underscore this line). Sunn O))) amaze us with many other languages besides their native one that they use in their creations with maddening length – 16, 25 minutes… (‘Belülrol Pusztít’ performed with Hungarian lyrics and ‘Decay2 (Nihil's Maw)’ done with Hindi lyrics). Yet another thing that blows the mind is ‘Conjunctivitis’ that tells of diseases and the next creation is Dies Irae (Sequentia) that is in Latin. Thus, this is the entire set of languages usually associated with The Beast. Besides this film, there are very juicy other horror movies in 2017. And they should be to your liking if you are a lover of such stuff: ‘The Crucifixion’, ‘Don’t Hang Up’, ‘Colossal’, ‘Devin In The Dark’, ‘Wish Upon’, and ‘House On Willow’. Their soundtracks are the same wild and devastating that this one and don’t contain loud names, the same as here also they aren’t present. Expect this horrifyingly captivating thing that gives much food for thought soon and it’ll be interesting to compare your feedbacks about the film in your comments to the soundtrack on our site.

November, 04th 2025

Movie profile on IMDb and Rotten Tomatoes

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