Founders Day (Timothy Williams)

Founders Day boasts a soundtrack by Timothy Williams that’s as stark and unyielding as the film’s narrative. Eschewing melody for mood, Williams’ score—dominated by electric guitars and synths—provides an aggressive backdrop to the on-screen action, but is it any good?

Founders Day, released in 2023, is a satirical political slasher film. The plot revolves around a small town grappling with a series of ominous killings in the days leading up to a heated mayoral election. As accusations fly and fear permeates every street corner, the residents race to uncover the truth. The movie is directed by Erik Bloomquist and features actors Naomi Grace, Devin Druid, and William Russ.

Timothy Williams, an English/Canadian composer, conductor, and orchestrator, composed the film’s score. His notable works include scores such as Pearl, Brightburn, and Wild Horses. Williams frequently collaborates with Tyler Bates.

The score of Founders Day is an exploration of sound and style rather than melody. Williams opts for a non-melodic, almost atonal approach, creating a soundscape that is both unsettling and aggressive. The quieter moments are laced with soft, uneasy electronic sounds that introduce subtle dissonances, while the action sequences are dominated by heavy percussion and forceful electric guitar chords. The primary instruments, electric guitars and synthesizers, blend to form an aggressive hybrid sound that is more atmospheric than harmonic.

The absence of recurring themes or motifs means that the soundtrack’s coherency relies on its overall sound, particularly the electric guitar’s presence in the action cues. This typical modern horror score, with plenty stingers and aggression, hints at rock and heavy metal influences. However, the music’s role in the film is straightforward: it amplifies terror and drama without contributing significantly to storytelling or character development. It maintains its style throughout, offering little evolution or narrative depth.

My initial reaction to the soundtrack was one of annoyance. The pervasive use of electric guitars and the lack of emotional depth left me disconnected. While I can appreciate the technical aspects of Williams’ soundscapes, the score fails to resonate with me on an emotional level. It’s a modern film score that prioritizes sound and atmosphere over melody and harmony, and as such, it doesn’t stand out from other contemporary works in the genre. I love some of Williams’ other works and I follow his career closely, but unfortunately, I cannot recommend this soundtrack for stand-alone listening, as it lacks memorable themes or motifs that would make for an engaging experience outside the context of the movie. [16 tracks, 36m]

Article by Pete Simons (c) 2024 Synchrotones