"I, Frankenstein" Soundtrack Lyrics

"I, Frankenstein (Original Motion Picture Soundtrack & Score)" – Album Guide to Tracks and Key Scenes

Overview

The film is dated 2013 in production credits and opened in U.S. theaters on January 24, 2014. Its music came in two retail releases from Lakeshore Records: a 13-track Original Motion Picture Soundtrack (industrial/alt-rock cuts curated around the film’s marketing) and a 26-cue Original Motion Picture Score by Johnny Klimek & Reinhold Heil with featured vocals by Lisa Gerrard (as per label/retail listings). Together they frame a pulp-goth action world with choir, low strings, and serrated guitars.

The score handles the narrative weight—cathedral battles, demon transformations, and Adam’s “creation” flashbacks—while the songs album supplies promo-friendly heft (Geno Lenardo & Daniel Davies under the alias By Maker, 8mm, Justin Lassen). Critics and retailer notes point out that only a subset of those song tracks appear in the finished film, whereas the score plays near wall-to-wall in the action set-pieces.

Questions & Answers

Who composed the score?

Johnny Klimek and Reinhold Heil; select cues feature vocals by Lisa Gerrard.

What exactly are the two albums?

Original Motion Picture Soundtrack (13 songs; largely By Maker/Lenardo–Davies pieces) and Original Motion Picture Score (26 cues; ~75 minutes).

Which label released them and when?

Lakeshore Records—songs set in early January 2014; score album in late January 2014.

Are most rock songs heard in the movie?

Only a few; notably “Misgiving” and “Trouble.” Many album cuts function as companion pieces rather than on-screen cues.

Any notable performers on the score?

Lisa Gerrard appears on several cues (“Main Title,” “Ride of the Gargoyles,” “A Higher Purpose”).

What’s the film’s musical texture?

Choral/orchestral hybrids, deep low-string ostinati, and percussive brass for the battles; industrial rock for trailers/credit energy.

Notes & Trivia

• The score’s running order telegraphs plot beats (“It’s Alive!”, “Prince Naberious,” “Bring Me Frankenstein’s Monster,” “Showdown”).
• Both albums were issued by Lakeshore Records; digital storefronts list the score at 26 tracks (~1:15:00).
• By Maker is the project name used by Geno Lenardo (ex-Filter) and Daniel Davies; they also appear under their own names on the songs set.
• “Frankenstein” (Geno Lenardo feat. Prashant Aswani) closes the songs album—guitar-forward, trailer-ready.
• IMDb’s soundtrack page confirms multiple Lenardo/Davies cuts in the official cue sheet.

Genres & Themes

Choral-hybrid score → “holy war” framing: stacked choir + low strings = cathedral-sized stakes for gargoyle vs. demon lore.

Industrial/alt-rock → campaign energy: distorted guitars and mechanical rhythms push trailers and end-title momentum.

Solo voice (Lisa Gerrard) → mythic interiority: a human timbre inside non-human conflict; grief, duty, purpose.

Tracks & Scenes

“Main Title” — Johnny Klimek & Reinhold Heil feat. Lisa Gerrard
Where it plays: Prologue/origin recap as Adam’s creation is set against present-day pursuit (non-diegetic).
Why it matters: Establishes the sonic thesis—choir over grinding low strings; sacred vs. monstrous.

“It’s Alive!” — Johnny Klimek & Reinhold Heil
Where it plays: Flashback to Victor’s lab; lightning, coils, the first breath (non-diegetic).
Why it matters: Lab textures, tremolo strings, and a surge that marks the Creature’s “birth” beat.

“Bring Me Frankenstein’s Monster” — Johnny Klimek & Reinhold Heil
Where it plays: Naberious’s order triggers a citywide hunt (non-diegetic).
Why it matters: Ostinato-driven chase writing; brass stabs outline the villain’s will.

“Ride of the Gargoyles” — Johnny Klimek & Reinhold Heil feat. Lisa Gerrard
Where it plays: Airborne battle from cathedral rooflines into a nave (non-diegetic).
Why it matters: Vocal lines soar over choir and percussion—literal lift for aerial combat.

“Showdown” — Johnny Klimek & Reinhold Heil
Where it plays: Third-act confrontation beneath the citadel (non-diegetic).
Why it matters: Modular action writing that escalates in clear blocks; choir returns for the final blow.

“You Cannot Destroy Me” — Johnny Klimek & Reinhold Heil
Where it plays: Adam’s statement of self in the denouement (non-diegetic).
Why it matters: Minor-key resolve; identity over destiny.

“Misgiving” — By Maker (Geno Lenardo & Daniel Davies)
Where it plays: Early urban stalk / opening energy (non-diegetic; album + in-film use).
Why it matters: Industrial pulse frames the comic-book tone before the choir takes over.

“Trouble” — By Maker (Geno Lenardo & Daniel Davies)
Where it plays: Mid-film pursuit beat / trailer-style cut (non-diegetic; album + in-film use).
Why it matters: The most kinetic of the By Maker cues used on screen—sharp guitars over a piston beat.

“Scream Where My Heart Should Be” — 8mm
Where it plays: Album cut (heard in campaign materials; not prominent in theatrical mix).
Why it matters: Slow-burn industrial pop that fits the property’s brooding modernity.

“Frankenstein” — Geno Lenardo feat. Prashant Aswani
Where it plays: End-titles on the commercial album; placement varies by territory/version.
Why it matters: Branding track; title as hook, guitar as signature.

Note: Several songs on the retail compilation do not appear in the final feature; the score carries most scene-to-scene work (as reported in contemporary soundtrack reviews).

Music–Story Links

Adam’s arc swings between two poles: a weapon in someone else’s war and a being claiming agency. The score mirrors that split—ritual choral frames for the “war,” intimate voice lines when the film narrows back to Adam. Rock cues supply surface velocity, but the identity beats land on choir and strings.

How It Was Made

Klimek & Heil—longtime collaborators—built a hybrid palette: low-string ostinati, percussion blocks, and choir, with Lisa Gerrard’s voice spotlighted for mythic color. Lakeshore packaged two separate albums; the songs set leaned on By Maker (Lenardo/Davies) to echo the Underworld-adjacent marketing lane, while the expansive score album tracks the film’s plot in order, cue titles and all.

Reception & Quotes

Coverage split the difference: album-side industrial rock drew mixed notes, while the score’s choral heft and Gerrard features earned praise.

“Brooding low strings, big choirs… Gerrard’s voice as haunting as ever.” contemporary review

“Only a couple of By Maker cues are actually in the film; the score does the heavy lifting.” soundtrack write-up

Additional Info

• Songs album: 13 tracks, ~46 minutes; digital street date early Jan 2014 (℗ 2013 Lakeshore).
• Score album: 26 tracks, ~75 minutes; street date late Jan 2014 (℗ 2013/2014 Lakeshore).
• Select score personnel credits list Cantillation choir and conductor Brett Kelly on featured cues.
• Film credits list music by Johnny Klimek & Reinhold Heil; distributor Lionsgate.
• The film’s official year appears as 2013 (production/intl. dating) with U.S. release in Jan 2014.

Technical Info

• Title: I, Frankenstein — Original Motion Picture Soundtrack (Various Artists) & Original Motion Picture Score (Johnny Klimek & Reinhold Heil)
• Year: 2013/2014 (film dated 2013; U.S. release 2014; albums 2014)
• Label: Lakeshore Records
• Composers: Johnny Klimek; Reinhold Heil
• Featured vocalist (score): Lisa Gerrard (select cues)
• Selected notable cues: “Main Title,” “It’s Alive!,” “Bring Me Frankenstein’s Monster,” “Ride of the Gargoyles,” “Showdown,” “You Cannot Destroy Me.”
• Selected songs: “Misgiving,” “Trouble,” “Scream Where My Heart Should Be,” “Frankenstein.”

Canonical Entities & Relations

Sources: label/retail listings for both albums; Wikipedia film/credits overview; Discogs notes on the limited CD; IMDb soundtrack entries; contemporary soundtrack reviews noting which songs are actually used.

November, 11th 2025