"Hills Have Eyes 2" Soundtrack Lyrics

"The Hills Have Eyes 2 – The Album" Soundtrack Description

Overview

Can a gore-forward sequel double as a mid-2000s heavy-music sampler? The Hills Have Eyes 2 – The Album answers with metalcore, post-hardcore, and industrial shocks slotted between Trevor Morris’s tense score in the film. The commercial compilation arrived after the movie’s theatrical run and leans into label muscle—Atreyu, The Dillinger Escape Plan, Shadows Fall—plus a bespoke opener from Loudlion and an end-credits industrial remix by Celldweller.

The movie itself uses primarily score and a handful of featured tracks; the retail album is a “music from and inspired by” package. Baselines for facts come from Discogs and Apple Music for release metadata, Wikipedia for the soundtrack overview and label/date, and IMDb for on-screen song credits.

Questions & Answers

Who composed the film’s original score?

Trevor Morris. His cues were not given a wide commercial score album; circulating bootlegs/fan posts exist, but the official retail focus was the songs compilation.

When did the soundtrack album release and on which label?

July 31, 2007 in North America via Bulletproof Records (CD). Later digital issues appear under Sall Entertainment Group/Fontana North.

Is the album strictly songs used in the film?

No. It’s a mix of in-film tracks and inspired-by cuts typical of the era’s horror marketing.

What’s the end-credits song?

Celldweller — “Own Little World (Remorse Code Remix).” It plays into the end crawl.

Any trailer-only music worth noting?

Yes. The teaser used Devendra Banhart’s “Insect Eyes,” not on the retail album.

Is there an official track called “The Hills Have Eyes”?

Yes. Loudlion recorded the opener “The Hills Have Eyes” specifically for the album campaign.

Notes & Trivia

• The album’s metal lineup (Atreyu, The Dillinger Escape Plan, Shadows Fall, As I Lay Dying) reflects Fox Atomic’s push toward extreme-music audiences.
• Celldweller’s end-title remix was produced by Klayton and later highlighted in his own remix series materials.
• Composer credit in the film is Trevor Morris; score cues circulate among collectors but weren’t issued broadly at the time.
• Digital storefronts list a 12-track, ≈48-minute program for later reissues; original CD configurations vary slightly by territory.

Genres & Themes

Metalcore & post-hardcore: aggression as adrenaline—album cuts stoke franchise attitude rather than play wall-to-wall in scenes.

Industrial rock: end-credits catharsis; distorted synths and gated drums match the sequel’s mean streak.

Score suspense: Trevor Morris’s percussive, low-cellar textures carry most on-screen tension; strings and pulses track ambush → pursuit → standoff.

Tracks & Scenes

Selected placements; timestamps vary by cut. Diegetic = heard by characters on screen. Album-only cues are marked when usage is promotional/inspired-by rather than clearly placed in a scene.

“Own Little World (Remorse Code Remix)” — Celldweller
Where it plays: primary end-credits track; non-diegetic.
Why it matters: industrial release valve after the siege; this remix is the album’s most film-identifiable cue.

“The Hills Have Eyes” — Loudlion
Where it plays: album/promo opener (album-first identity cue).
Why it matters: brand-stamped theme song created for the OST campaign; not a narrative scene.

“My Fork in the Road (Your Knife in My Back)” — Atreyu
Where it plays: album cut; used in marketing playlists and region-specific promos.
Why it matters: marquee metalcore placement anchoring the compilation’s tone.

“Unretrofied” — The Dillinger Escape Plan
Where it plays: album cut; non-diegetic in soundtrack rotation.
Why it matters: left-field math-rock sheen amid straight-ahead metal.

“Redemption” — Shadows Fall
Where it plays: album cut; appears in music-video tie-ins around the OST.

“Hard Rock Hallelujah” — Lordi
Where it plays: album cut; promotional value (post-Eurovision notoriety) more than scene placement.

Trailer pick: “Insect Eyes” — Devendra Banhart
Where it plays: teaser trailer needle-drop; not on the retail album.
Why it matters: folk-horror chill that contrasted with the album’s metal posture.

Music–Story Links

• Score as spine: Morris’s cues bind the film’s patrol → ambush → tunnel gauntlet; songs are mostly paratext (trailers, end credits, marketing).
• Industrial closure: the Celldweller remix over credits reframes shock into a high-energy exit, a common 2000s horror move.
• Album identity vs. film function: the compilation sells a sound world (metalcore/industrial) broader than what you hear during scenes.

How It Was Made

Fox Atomic packaged a label-friendly metal set while the film team leaned on Trevor Morris for percussive suspense material. The end-title slot went to Celldweller’s “Own Little World (Remorse Code Remix),” while Loudlion cut a namesake opener for the disc. Album curation mirrors mid-2000s horror practice: recognizable bands to anchor press, with a few exclusives to sweeten the SKU.

Reception & Quotes

Critical reaction centered on the film more than the album; still, the compilation drew rock-press mentions thanks to its band roster.

“Music: Trevor Morris.” Wikipedia (film credits)

“The album’s end-title is Celldweller’s ‘Own Little World (Remorse Code Remix).’” IMDb / artist materials

“US soundtrack release: July 31, 2007 — Bulletproof Records.” Discogs / soundtrack databases

Additional Info

• Album later appeared on digital services as a 12-track, ~48-minute set (Sall Entertainment/Fontana North imprint).
• US CD branding: “The Hills Have Eyes 2 — The Album.”
• Composer Trevor Morris’s name is sometimes listed alone on score-centric databases despite the retail album being songs-only.
• Not every track on the CD is heard in the movie; several are “inspired by.”
• Trailer cue “Insect Eyes” is a notable out-of-album placement used for mood in early marketing.

Technical Info

• Title: The Hills Have Eyes 2 — The Album
• Year: 2007 (CD); later digital reissue years vary
• Type: Songs compilation (music from & inspired by); film score by Trevor Morris
• Label(s): Bulletproof Records (CD); later digital via Sall Entertainment Group / Fontana North
• Notable placements: Celldweller “Own Little World (Remorse Code Remix)” — end credits; Devendra Banhart “Insect Eyes” — teaser (not on album)

Canonical Entities & Relations

Sources: Wikipedia (film & soundtrack overview); Discogs (CD release); Apple Music & Spotify (digital metadata); IMDb (soundtrack/end-credits note); artist/label materials for Celldweller; soundtrack databases (MovieMusic, SoundtrackINFO).

November, 10th 2025