What Does Grief Sound Like?

‘Handling the Undead’ is the latest cinematic offering by Thea Hvistendahl, based upon John Ajvide Lindqvist’s book. Set in Oslo, it’s the twisted story of newly-deceased loved ones being brought back to life as… zombies. But it’s much more than that. Behind the smoke screens of horror and fear, it’s a story about grief and loss. 

Grief is a powerful thing. Anyone who’s lost someone they love will relate to the bottomless ache of wanting them back. There’s a ‘no-matter-what-nes’ that comes with it; accompanied by a yearning for those few seconds of momentary amnesia upon waking from slumber, before the floodgates of reality swing open with a recurring vengeance. 

It’s known for its behaviour-altering qualities. Remember Dr. Tanzler? The radiology technologist obsessed with tuberculosis patient Elena Milagro Hoyos, who after her death in 1931, stole her corpse and lived with it for seven years? There is a reason for the proliferation of grief-related psychic readings that promise solace or connection with the departed. This isn’t to say that everyone responds with derangement or rushes to the side of mystics. But grief can lead people down strange paths, pushing us to seek comfort in unconventional corners, grasping at anything that might offer a semblance of relief. 

In ‘Handling the Undead’, this exploration of grief takes on a visceral and haunting quality, shepherded by Peter Raeburn’s score. Just as grief defies rational explanation, Peter’s music evades what we might expect, creating sounds that mirror the complexities of human emotion. From eerie electronic tones, to mournful strings and haunting piano melodies, it’s a fitting partner to the work. 

Here, we learn how Peter dug into his own experience with loss to craft the sounds of grief.

LBB> Congratulations on your win at Sundance for your score on ‘Handling the Undead’! How does it feel to receive such recognition for your work? 

Peter> Thank you, It feels really humbling and also really lovely. It is such an unassuming film and soundtrack. It certainly was not trying to win anything other than the emotional and spiritual attention that this film evokes. I am really happy for the whole team that has been recognised.

LBB> Your score is noted for its eerie, foreboding, and emotionally resonant qualities. Can you walk us through your creative process in composing the music for this film? 

Peter> Collaboration and communication with Thea, the director, was my way in. We talked about the script, about life, about grief, I shared my experience of losing my mother so suddenly with her and we quickly formed a creative bond. She showed me images and had such a strong intent right from the very beginning that influenced and inspired my early sketches, many of which still remain in the film. 

LBB> It builds major dramatic intensity only in the final act. What guided your decision-making process in terms of when and how to heighten the emotional impact with your music? 

Peter> The film beautifully and atmospherically guides us through the story. The economy of dialogue allowed music to play a key role throughout the film. However, the true release and crescendo could only happen at the end that we had been building slowly and inevitably towards. We needed to earn and preserve that feeling and before then it was essential to create possibility and suggestion. 

LBB> There is a synergy between your score and the cinematography, particularly in conveying mood and atmosphere. Could you elaborate on how you collaborated with the cinematographer to enhance the visual storytelling with your music? 

Peter> Apparently, the cinematographer and director were listening to some of my sketches while shooting the film. Even actors were hearing some of them and I think that helped create a connection and trance across the disciplines all thanks to the director's vision. 

LBB> ‘Handling the Undead’ has been praised for its minimalist approach to dialogue, relying on visual storytelling and sharp use of sound to convey mood. How did you ensure that your music complemented and enhanced this aspect of the film? 

Peter> Part of the score is atmospheric, some of it character and narrative based and the sound team did a great job in balancing everything so that we experienced a whole world where there is talking, music, sound but there is also space for discovery. The subject matter is so upsetting that I think this balance is essential. 

LBB> The film explores horror, grief, and letting go. How did you infuse these themes, and what techniques did you use to evoke these complex emotions? 

Peter> It’s true that there is horror, grief, and letting go in the score and sometimes they happen all at once. The score becomes something that we get to know throughout the film like the characters and their losses. I think the audience is taken on the journey with the characters in a very effective way. 

LBB> Your music transitions between low rumbling electronic moments and more elegiac string and piano-driven scoring. How did you approach balancing these different sonic elements to serve the narrative effectively? 

Peter> Creating the palette of the score was a very natural process. Different sounds and feelings emerge from within the film. It allowed me to be brave with contrasting instruments and vibrations. It’s always exciting to have an open brief so the film and filmmakers can journey towards its right place without any preconceptions or to try and break into fresh ground. 

LBB> Can you share any specific challenges you encountered while composing and how you overcame them? 

Peter> Avoiding horror was really important because zombies come with that stigma but that is not what this film is in any way about. So, I needed to focus on the feelings, the family connections, and the stories that were interweaving and never falling into being manipulative or genre. 

LBB> What were some of the key inspirations behind your musical choices for this film? Were there any particular composers or pieces of music that influenced your approach? 

Peter> I have so many favourite pieces of music and composers but this score was a tabulariser. This was an open brief and an opportunity to see what came out. 

LBB> Lastly, how do you hope your score contributes to the overall viewing experience of ‘Handling the Undead’, and what do you hope audiences take away from the film's music? 

Peter> I hope that my score serves as a companion to the film, seamlessly intertwined with its characters and themes, delving deep into the realms of loss, grief, and life. I hope that people are able to experience the honesty and the catharsis that may relate to their own life experiences. No one escapes from the inevitable and the film has a sense of acceptance for that truth but also shines a beam of the unknown in the way that only art can.