"Night of the Demons" Soundtrack Lyrics

“Night of the Demons (2009) — Songs & Score” – Album Guide to Tracks and Key Scenes

Overview

What if a Halloween house party playlist kept playing after the lights went out — arrival → adaptation → rebellion → collapse? The 2009 remake of Night of the Demons answers with a mash of punked-up psychobilly, goth club staples, and an atonal, scraping score. Needle-drops lure you in; Joseph Bishara’s strings and low brass tell you to run.

This time the party is at New Orleans’ crumbling Broussard mansion. As host Angela’s blowout implodes, cuts from 45 Grave, T.S.O.L., Wednesday 13 and more tint the rooms with Halloween-night bravado. When the demons show up, the music’s job shifts: songs become memory of safety; the score becomes the house’s voice.

Why it lands: the soundtrack is unabashedly Halloween-core — big choruses, retro horror surf, and goth rock that knows exactly where the fog machine sits. Meanwhile, Bishara’s cues splice in with metallic shrieks and bowed nightmares. According to the film’s IMDb soundtrack page, the licensed side leans cult-favorite bands; per the Wikipedia soundtrack list, later pressings and cue sheets also cite Type O Negative and Goatwhore among the featured artists.

Genres & themes (phases): horror-surf & psychobilly — party swagger; goth/industrial — seduction curdling into threat; punk — flight mode; atonal score — the house hunting; classic alt-rock — aftermath irony.

How It Was Made

Director Adam Gierasch and co-writer Jace Anderson stage the film like a DJ set that derails: recognizable Halloween-night bangers slam into Bishara’s serrated textures. Bishara’s approach — skittering strings, contrabass groans, metallic percussion — is built to cut across songs rather than hide under them. Music supervision by Alisa Burket threads in psychobilly and punk that can plausibly blare from mansion speakers before the party goes feral.

Release timing mattered, too: the film bowed at FrightFest 2009 and went straight to disc in October 2010, so the soundtrack lived as artist releases + fan playlists rather than a big retail album.

Tracks & Scenes

“Night of the Demons” — 45 Grave
Where it plays: Early party montage as Angela welcomes bodies into Broussard mansion; pounding drums plus sneer-chorus set the night’s vibe. Diegetic PA in the main room, then bleeds non-diegetic into the cut.
Why it matters: Names the movie, sets the rules: camp meets threat.

“Ghastly Stomp” — The Ghastly Ones
Where it plays: Hallway conga of costumes, basement beer run, speakers rattling the plaster. Diegetic, surf-horror twang riding a floor tom.
Why it matters: The most Halloween-party thing imaginable — surf guitar that winks while the script sharpens knives.

“Code Blue” — T.S.O.L.
Where it plays: Side-room misbehavior montage: flirtations get obnoxious, and the lyric’s gallows humor underlines the film’s mean streak. Diegetic (room PA).
Why it matters: Punk velocity = bad decisions accelerate.

“Bloodletting (The Vampire Song)” — Concrete Blonde
Where it plays: Transitional lull as rumors of demons feel like a gag — low-slung groove under cutaway faces and flickering bulbs. Non-diegetic mood shifter.
Why it matters: Puts a sultry sheen on denial.

“Gimme Gimme Bloodshed” — Wednesday 13
Where it plays: Stairs-turned-stampede; people shove, doors slam, a hand vanishes around a corner. Diegetic start → non-diegetic chase.
Why it matters: Comic-book horror voice for a page that just went red.

“Aim for the Head” — Creature Feature
Where it plays: Weapon-gathering scramble; the lyric turns tutorial as folks barricade and improvise. Non-diegetic needle-drop over quick cuts.
Why it matters: Lyric-as-instruction gag the movie happily literalizes.

“Blood, Brains & Rock ’N’ Roll” — Zombie Girl
Where it plays: Black-light corridor and bathroom mirror gag; strobe edits sync to the kick drum. Diegetic club system echoing down tile.
Why it matters: Industrial pop edge = demon POV feels like nightlife.

“Invasion of the Ball Snatchers” — Psycho Charger
Where it plays: Courtyard scramble; headlights flare, gate won’t budge. Non-diegetic grind pushing panic to a laugh-scream.
Why it matters: Title alone tells you the tone: shameless and sharp-toothed.

“Black No. 1 (Little Miss Scare-All)” — Type O Negative
Where it plays: A late-night, slower-moving breath where the film remembers the goth romance inside its splatter. Non-diegetic needle-drop to reset pulse.
Why it matters: Cathedral-big irony that suits the movie’s baroque decor.

Score spotlight — Joseph Bishara cues
Where they play: Attic seance flashbacks and demon reveals; scraped strings, metallic knocks, bass groans. Non-diegetic, sometimes creeping in under songs.
Why it matters: The sound of the house itself; when it arrives, the party’s over.

Trailer/non-album notes: Marketing leaned on party-ready cuts (45 Grave, Ghastly surf) before slamming into Bishara’s shrieks — exactly how the film switches gears.

Notes & Trivia

• Composer Joseph Bishara (later of Insidious, The Conjuring) gives the remake its most distinctive fingerprint.
• Music supervision by Alisa Burket ties the horror-surf/punk selections to believable party source music.
• Several fan-favorite tracks appear in the film but never saw a single, unified OST album — the music lives as artist releases and playlists.
• The film premiered at FrightFest 2009; straight-to-disc followed in October 2010, which shaped how the soundtrack circulated.
• Type O Negative’s “Black No. 1” is cited on later soundtrack lists — a perfect goth wink for a Halloween bloodbath.

Music–Story Links

Halloween bangers (45 Grave, Ghastly Ones) create a safe movie party bubble; when Bishara’s clusters scrape in, the bubble pops. Punk cues like “Code Blue” and Wednesday 13 shove characters into faster choices — jump cuts mimic down-stroked guitars. A sultry interlude (“Bloodletting”) lets denial creep back, so the next shock hits harder. And a late goth anthem (“Black No. 1”) reframes survival as style — the film’s last wink before the credits.

Reception & Quotes

Reviews were mixed, but even skeptics called the package “slick” and acknowledged the soundtrack’s Halloween-party utility. Disc reviewers pitched the home-video release squarely at horror-night crowds.

“Put together with an undeniable slickness… familiar moves, built to play for fans.” Moria Reviews

“Demon-filled, blood-soaked… arriving on Blu-ray October 19.” disc press coverage

“A perfect October rental: fog, costumes, and songs you’d blast at a party.” home-video capsule

Interesting Facts

• Some cues play diegetically in specific rooms, then return non-diegetically during chases — the film loves that bleed.
• The licensed cuts skew deliberately “Halloween playlist” — easy to drop into parties without context.
• Bishara’s score predates his breakout with Insidious but already carries his signature metal-scrape sonics.
• Distribution quirks (festival 2009 → disc 2010) meant fans built unofficial playlists instead of buying one OST.
• New Orleans setting = room for horror-surf and Southern-goth textures without breaking tone.

Technical Info

• Title: Night of the Demons (2009) — songs & score overview
• Year / Type: 2009 — Film (remake); soundtrack is various-artists + original score
• Director: Adam Gierasch
• Score Composer: Joseph Bishara
• Music Supervision: Alisa Burket
• Selected placements: 45 Grave “Night of the Demons”; The Ghastly Ones “Ghastly Stomp”; T.S.O.L. “Code Blue”; Concrete Blonde “Bloodletting”; Wednesday 13 “Gimme Gimme Bloodshed”; Creature Feature “Aim for the Head”; Psycho Charger “Invasion of the Ball Snatchers”; Type O Negative “Black No. 1”
• Release context: Premiered August 30, 2009 (FrightFest, London); U.S. disc release October 19, 2010 (E1/Entertainment One)
• Album status: No widely issued multi-artist OST album; tracks available via the individual artists. Fan playlists mirror the film order.

Questions & Answers

Is there an official, all-in-one soundtrack album?

No — the film leans on artist catalog cuts plus Bishara’s score; fans rely on playlists and credits.

Who composed the score?

Joseph Bishara. His scraping strings and metal-on-metal hits are the film’s signature dread.

Are most songs diegetic?

Early party cues are mostly in-world (diegetic). As chaos escalates, songs often bleed into non-diegetic chase and montage.

What’s the most recognizable party track?

45 Grave’s title cut — a mission-statement banger that frames the night before it rots.

Where was it first released?

Festival premiere at FrightFest (Aug 30, 2009), then straight-to-DVD/Blu-ray in October 2010.

Canonical Entities & Relations

Sources: IMDb soundtrack & credits; Wikipedia (film page & soundtrack list); Moria Reviews; Blu-ray/E1 press items and listings.

November, 18th 2025