"Underworld: Evolution" Soundtrack Lyrics

"Underworld: Evolution (Original Motion Picture Soundtrack / Original Score)" – Album Guide to Tracks and Key Scenes

Overview

What happens when a gunmetal-blue vampire opera swaps gothic club bangers for serrated alt-rock remixes and a brooding, percussion-first score? You get a sequel that sells its mythology with teeth — and kick drums.

Underworld: Evolution doubles down on the Selene–Michael saga while the soundtrack splits in two: a “music from and inspired by” slab heavy on Renholdër-era industrial gloss, and Marco Beltrami’s original score that hammers tension with low strings, processed pulses, and sudden brass eruptions. The songs act like hard-edged interstitials — stylized textures for dens, safehouses, and end credits — while the score muscles through the lore dumps and aerial hunts.

Genre phases & meanings: industrial/alt-metal — blood-feud stamina and cold resolve; remix culture — clan politics cut-and-spliced; orchestral horror-thriller — dread, inevitability; trailer music cues — fated grandeur. The mix says: ancient war, modern hardware.

How It Was Made

The film’s score is composed by Marco Beltrami, whose approach privileges rhythm and timbre over hummable themes — more serration than sing-along. Lakeshore oversaw two complementary albums: the VA soundtrack stuffed with exclusive remixes (Renholdër fingerprints everywhere) and a separate score album gathering Beltrami’s set-pieces (“William Captured,” “Mike to Tavern,” “Marcus Trumpped”). Music supervision credits on the film include Brian McNelis and Darian Pollard, bridging licensing and placement across the franchise’s darker sonic identity.

Tracks & Scenes

“The Undertaker (Renholdër Mix)” (Puscifer)

Where it plays:

Diegetic in Tanis’s lair while he lounges with two companions, the track oozes from his chambers’ sound system as Selene infiltrates the hideout. Later, it returns as the first end-credits song; the mix’s serrated synths and loping beat bridge the final image into the scroll.

Why it matters:

Establishes Tanis’s decadent exile and the series’ sleek, industrial palette; in credits, it serves as the franchise’s calling card — stylish menace with a smirk.

“Morning After” (Chester Bennington vs. Julien-K)

Where it plays:

The second end-credits cue, kicking in roughly a minute and a half after the scroll begins. Guitar stabs and synth bass re-ignite the film’s slick afterglow as names roll.

Why it matters:

Post-battle catharsis with a modern-goth sheen; it ties the series’ club DNA to 2000s alt-rock celebrity, punctuating Selene’s now-uncertain “new hope.”

“Her Portrait in Black” (Atreyu)

Where it plays:

Non-diegetic needle drop around the tavern/arms-broker confrontation. As Selene confronts her banished contact, the track’s chug and double-kick underline the barbed dialogue and flaring tempers.

Why it matters:

Turns an info-exchange into a brawl-adjacent flex — aggression as exposition aid.

“Halloween 2” (Cradle of Filth)

Where it plays:

Appears during a later slice of the end credits, after the headline cues finish. The caustic cover nods to horror lineage as the film closes its book of bloodlines.

Why it matters:

Signals the series’ affinity for theatrically macabre aesthetics — a final wink to genre die-hards.

“Eternity and a Day” (Paul Haslinger)

Where it plays:

Carried over from the first film’s score and reused here, the cue is heard in intimate beats (including the riverside sunrise coda). It’s non-diegetic, tender, and unexpectedly warm.

Why it matters:

Legacy theme as emotional ligament — proof this world can soften without breaking its fangs.

Score cues by Marco Beltrami (selection)

“William Captured”

Prologue-era brutality: pulse percussion and low brass grinding under the medieval roundup; strings gnash as chains bite.

“Mike to Tavern”

Transition engine: stealthy ostinati, then a sudden percussive shove as Selene and Michael press their advantage.

“Marcus Trumpped”

Aerial predator motif goes full wing-beat — metallic hits and clustered horns frame the apex predator’s rage.

Trailer music

Early trailers stitched together industry cues — Veigar’s “Deamon,” Immediate Music’s “Defcon,” and a Veigar remix of “Red Tape” — to sell the mythic stakes with choir-and-drum grandeur.

Notes & Trivia

• The VA soundtrack leans heavily on exclusive remixes — a franchise hallmark that began in the first film and peaks here with Renholdër fingerprints.
• “Morning After” arrived as a crossover flex — Linkin Park’s Chester Bennington with Julien-K — tailored for this release.
• Beltrami’s score album emphasizes percussion design and texture over singable themes; the film itself uses several showpiece action cues not always foregrounded on the album.
• Paul Haslinger’s carryover cue threads franchise intimacy through a story mostly told with steel and stone.
• Multiple end-credits songs roll: Puscifer first, then Chester/Julien-K, with other metal cuts surfacing further into the scroll.

Reception & Quotes

Critical response split: fans liked the mood; others found the sequel more style than sinew. The music? Frequently praised for consistency with the blue-black aesthetic.

“Beltrami’s dark textures and rhythms satisfy thriller instincts, even if the album runs long.” Filmtracks

“Convoluted and confusing, but with the coolest looking vampire I’ve ever seen.” ScreenRant

Interesting Facts

• Industrial thread: Lakeshore doubled down on remix culture to brand the series sonically.
• Carryover theme: Haslinger’s cue from film one returns — rare in sequel scoring handoffs.
• Supervisor bridge: The supervision team helped keep the franchise’s club-to-cathedral vibe intact across albums.
• Trailer alchemy: Library cues (Veigar/Immediate Music) sold grandeur before audiences heard the film’s actual songs.
• Credit suite: The credits function like a mini-mixtape — more than one marquee artist gets time to shine.

Technical Info

• Title: Underworld: Evolution (Original Motion Picture Soundtrack) / Underworld: Evolution (Original Score)
• Year: 2006
• Type: Film soundtrack & score
• Composer: Marco Beltrami (score)
• Music supervision: Brian McNelis; Darian Pollard (film)
• Label: Lakeshore Records (both releases)
• Soundtrack release: January 10, 2006 (CD/digital)
• Score release: February 2006 (digital/CD)
• Selected notable placements: “The Undertaker (Renholdër Mix)” — Tanis’s lair & first end-credits; “Morning After” — second end-credits; “Her Portrait in Black” — tavern confrontation; “Halloween 2” — later credits; “Eternity and a Day” — intimate beats & sunrise coda.
• Release context: World premiere January 11, 2006 (LA); U.S. release January 20, 2006.
• Availability: Soundtrack and score streaming widely; retail via Lakeshore-affiliated outlets.

Questions & Answers

Is the Puscifer track actually in the movie or just on the album?

Both — it’s heard diegetically in Tanis’s hideout and again as the first end-credits song.

Which song kicks in after the first minute of the credits?

“Morning After” by Chester Bennington vs. Julien-K — the second end-credits cue.

Does the film reuse any themes from the first Underworld?

Yes. Paul Haslinger’s “Eternity and a Day” returns for intimate, reflective beats and the sunrise coda.

Who handled the film’s music supervision?

Brian McNelis and Darian Pollard are credited as music supervisors on the film.

Are the trailer cues the same as the film’s songs?

No. Early trailers used library/production cues (Veigar, Immediate Music) distinct from the in-film placements.

Key Contributors

Sources: Wikipedia; Underworld Wiki; WhatSong; SoundtrackINFO; Apple Music; Metacritic (credits); Filmtracks review; Lakeshore/artist channels.

November, 19th 2025