"Horns" Soundtrack Lyrics

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"Horns (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

What happens when a murder-mystery romance leans on alt-rock canon and a nervy modern score? Horns answers with two official albums: a song-driven compilation aimed at tone and irony (Bowie, Pixies, Eels, Flaming Lips) and a separate original score by ROB (Robin Coudert) that threads dread, memory, and black humor.

The songs album arrived via Lakeshore Records in late October 2014; the score album followed the same label’s rollout in mid-October/early November. Together they sketch the film’s worldview: pop classics as moral mirrors and a synth-string score for the supernatural fallout. Trusted sources include Apple Music’s label/date listings and specialist trade announcements.

Questions & Answers

Are there two different official albums?

Yes. A various-artists Original Motion Picture Soundtrack (songs) and ROB’s Original Motion Picture Score.

Who composed the score?

ROB (Robin Coudert). The score album collects 22 cues (~42 minutes).

Who supervised the songs?

Music supervision is credited to Robin Urdang.

Which label released them?

Lakeshore Records issued both (digital first, then CD for the score).

Is “Where Is My Mind?” actually used on screen?

Yes—Pixies’ original appears in a flashback montage; it’s also on the songs album.

Any diegetic performances?

Yes—Joe Anderson’s on-screen band features The Brass Action performing “The Devil Down Below.”

Notes & Trivia

• The songs album includes David Bowie’s “Heroes,” Marilyn Manson’s “Personal Jesus,” and cuts by Eels, Junip, The Flaming Lips, and Sunset Rubdown.
• The score album’s cue list (e.g., “Bad Red,” “Rape,” “Lee’s Death”) closely shadows plot beats; runtime ≈42 minutes.
• Lakeshore staggered dates by territory: mid-October 2014 digital, early November CD for the score.
• The bar-band seen in the film is Vancouver outfit The Brass Action; their track “The Devil Down Below” got an on-screen feature.

Genres & Themes

Alt-rock & indie staples — existential anthems (“Where Is My Mind?”) and sly classics (“Personal Jesus”) externalize guilt, lies, and confession.

Classic pop — “Heroes” opens like a mock-heroic banner over Ig’s worst day; sweet tunes (“What the World Needs Now Is Love”) turn caustic in context.

Electro-orchestral score — ROB mixes glassy synths, strings, and percussion to move from grief into fever-dream.

Tracks & Scenes

"Heroes" — David Bowie
Where it plays: ~00:03 as Ig stares out the window at his new reality (non-diegetic).
Why it matters: Ironic banner over a fallen hero; frames the film’s bitter humor.

"SOS Blues" — Felicia Carter
Where it plays: ~00:06 during the tense family breakfast (source-esque in scene).
Why it matters: Domestic normalcy curdles as the horns’ truth-telling begins.

"Story of an Artist" — Daniel Johnston
Where it plays: ~00:07, Terry (Joe Anderson) plays along on trumpet (diegetic flavor).
Why it matters: Outsider-art melancholy for a damaged sibling dynamic.

"Hold Your Fire" — Trent Dabbs
Where it plays: ~00:08 at the bar when Ig searches for answers (non-diegetic).
Why it matters: A low-burn pulse for suspicion taking shape.

"What the World Needs Now Is Love" — Burt Bacharach/Hal David
Where it plays: ~00:18 in the hospital with a crying child (source/ambient).
Why it matters: Sweetness turned sour—needle-drop irony.

"Morning Has Broken" — traditional (text by Eleanor Farjeon)
Where it plays: ~00:23 sung in church by family/congregation (diegetic hymn).
Why it matters: Piety can’t mask cruelty; the horns drag truth into daylight.

"Where Is My Mind?" — Pixies
Where it plays: ~00:24 in flashback as teens blow up junk (non-diegetic).
Why it matters: Disorientation anthem; nostalgia laced with doom.

"Lonely Road" — The Shivers
Where it plays: ~00:29 while Ig studies Morse code (non-diegetic).
Why it matters: Solitary resolve before the film turns savage.

"Personal Jesus" — Marilyn Manson
Where it plays: ~00:44 with reporters hounding Ig (non-diegetic).
Why it matters: A confession-themed sledgehammer for public voyeurism.

"Sleep With the Lights On" — The Wanton Bishops
Where it plays: ~00:45 at the bar as Ig grills locals (source/needle-drop).
Why it matters: Swampy blues for small-town menace.

"That Look You Give That Guy" — Eels
Where it plays: ~00:48 in a proposal/breakup flashback (non-diegetic).
Why it matters: Wry tenderness undercuts macho jealousy.

"A Night So Still" — Tindersticks
Where it plays: ~00:50 at the diner confrontation (non-diegetic foreground).
Why it matters: Hushed ache for a pivotal rupture.

"Ashes and Matches" — Doug Jerebine
Where it plays: ~00:54 as Ig corners the lying waitress (non-diegetic).
Why it matters: Title-as-metaphor for escalating vengeance.

"The Devil Down Below" — The Brass Action
Where it plays: ~00:56 live on stage; Terry’s band performs (diegetic).
Why it matters: On-screen band energy; the lyric winks at the plot.

"11:34 (Hell O’Clock)" — The Brass Action
Where it plays: ~00:57 second live number at the bar (diegetic).
Why it matters: Party beat before revelations crash the room.

"Beginnings" — Junip
Where it plays: ~00:59 flashback ride after the diner fight (non-diegetic).
Why it matters: Melancholy reset that isn’t one.

"If I Had a Heart" — Fever Ray
Where it plays: ~01:11 when Ig tries to remove the horns (non-diegetic).
Why it matters: Ritualistic dread for self-annihilation urges.

"Evil" — The Flaming Lips
Where it plays: ~01:15 as Ig confronts Terry (non-diegetic).
Why it matters: Title does the talking; tone does the rest.

"60 Feet Tall" — The Dead Weather
Where it plays: ~01:20 during the forced overdose sequence (non-diegetic).
Why it matters: Jack White’s snarl as moral line-crossing.

"Hommage à John Cage" — Nam June Paik
Where it plays: ~01:21 as hallucinations hit (non-diegetic/experimental).
Why it matters: Noise art to match psychic rupture.

"Shut Up I Am Dreaming of Places Where Lovers Have Wings" — Sunset Rubdown
Where it plays: ~01:32 over end credits (non-diegetic).
Why it matters: A haunted epilogue after the fire and snakes.

Music–Story Links

Needle-drops are moral spotlights. “Heroes” mocks the town’s mythology; “Personal Jesus” skewers performative piety. “Where Is My Mind?” binds memory to chaos so the later confessions feel inevitable. ROB’s cues handle the intimate turns—hushed motifs when grief surfaces, dissonant clusters when Ig weaponizes the horns. When The Brass Action appear in-world, the film lets music be action, not wallpaper.

How It Was Made

Director Alexandre Aja tapped ROB after their collaboration on Maniac. Lakeshore packaged both albums. Music supervision is credited to Robin Urdang; on-screen bar material features The Brass Action. Release sequencing: score announced for mid-October 2014 digital with a November CD; the songs compilation posted the same week in late October.

Reception & Quotes

Coverage noted the alt-rock needle-drops and the muscular, textural score as a tonal fit despite the film’s genre juggling.

“Lakeshore’s companion releases—song set and ROB’s lean score—sell the film’s black-comic mood.” Album/industry round-ups

“A nervy palette: synths, strings, percussion—melody when it hurts, noise when it burns.” Soundtrack review capsule

Additional Info

• Songs album (11 tracks) credits Lakeshore Records and lists Bowie, Pixies, Eels, Flaming Lips, Junip, Sunset Rubdown, et al.
• Score album (22 cues) by ROB runs ~42 minutes; key cues include “Bad Red,” “Rape,” “Lee’s Death,” “Snakes.”
• Diegetic band: The Brass Action; their “The Devil Down Below” is part of an on-screen set.
• The timestamped placements above follow verified scene logs.

Technical Info

• Title: Horns — Original Motion Picture Soundtrack (songs); Horns — Original Motion Picture Score
• Year: 2014 (songs: late Oct; score: mid-Oct digital, Nov CD)
• Composer (score): ROB (Robin Coudert)
• Music Supervision: Robin Urdang
• Label: Lakeshore Records (both albums)
• Selected placements: “Heroes” (0:03); “Where Is My Mind?” (0:24); “Personal Jesus” (0:44); “If I Had a Heart” (1:11); “Shut Up I Am Dreaming…” (1:32, credits)

Canonical Entities & Relations

Subject	Relation	Object
Alexandre Aja	directed	Horns (film)
ROB (Robin Coudert)	composed	Horns original score
Lakeshore Records	released	Horns soundtrack (songs) & score albums
Robin Urdang	music supervised	Horns
Pixies	performed	“Where Is My Mind?” (in film & on album)
David Bowie	performed	“Heroes” (in film & on album)
Marilyn Manson	performed	“Personal Jesus” (in film & on album)
The Brass Action	performed on-screen	“The Devil Down Below” (diegetic performance)

Sources: Apple Music (songs compilation & label/date); Film Music Reporter and Kinetophone (score announcement & release plan); Discogs (Lakeshore catalog ID); IMDb (song credits; The Brass Action note); SoundtrackRadar (scene placements & timestamps).

After Harry Potter, Daniel Radcliffe has become very famous and can choose his own roles according to the spirit. This will provide not only a gorgeous picture, but shall bring tranquility to him. Peace of mind that he will no longer be associated only with Harry Potter. Although it seems to us that this image has stuck forever to him, as it really was brilliantly played by him in all the series of this stunning motion picture. What we see here is mysticism, horror and drama. All the components of a really good thriller. The plot is very unusual – the main character starts having growing true horns on his head and in his presence, people are beginning to speak the truth only. That's what he's using when trying to find out who killed his girlfriend. And this became a question of his honor and his freedom, because people believe that he did it himself. As for musical selection, here we find rock (Heroes), pop, blues (Lonely Road) and jazz. Almost all the songs are performed with a serious emphasis on folk. Some songs even cannot be called songs – so they are a product of a set of sounds and noises. In general, quite melancholic and sometimes even frightening collection, which is twisted as the plot of the film. All highly recommended to listen Where Is My Mind by Pixies. And not only because of the fabulous band name, but also because the final product was really good. Marilyn Manson pleased us with normal cover on a very famous song, which is called Personal Jesus. In the rest, the collection is to be listened with rock only, because other songs simply infect you with angst, depression and monotony. If you want to plunge into the world of the protagonist of the film, in order to understand him better – listen to works such as Hommage To John Cage.

November, 10th 2025

Find more about this movie on IMDb, Wikipedia

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