“The Shout is one of the great films about sound…utilising new Dolby technology to build wide and complex frequencies, rendering a detailed audio world punctuated with outbursts of complex noise… Rupert Hine’s inventive score combines experimental electroacoustic music with synths and organs… (his) use of synthesisers evokes an eeriness also found in Brian Eno’s 1970’s scores for Derek Jarman and Peter Greenaway.” Suzy Mangion, audio theorist and electro-acoustic artist.

Jeremy Thomas’ 1978 production of The Shout, adapted from a short story by Robert Graves and directed by Jerzy Skolimowski, is highly regarded amongst British horror and electronic music fans due to its bold, arthouse approach to psychological drama, propelled by experimental studio techniques and visceral sound design. The film’s score and audio effects were almost entirely created by the songwriter and record producer Rupert Hine (Thinkman, Quantum Jump, Rush, Stevie Nicks, Kevin Ayers, Nico, Howard Jones, Underworld, Tina Turner & more). Rupert recorded reels of ideas and experiments for the film between 1977 and 1978 using an EMS VCS3, Yamaha CS80, Eventide Harmoniser and Roland Space Echo. He also created Crossley‘s terrifying shout and other foley effects such as the musique concrète for John Hurt’s home studio scenes.

“is The Shout the scariest sound in film?” Adam Scovell / BFI

Upon release marketing for the soundtrack focused on the involvement of Tony Banks and Mike Rutherford from the rock band Genesis. Their contribution was two short, repeated themes, co-produced with Rupert. It hasn’t been possible to include those tracks but what we do have is all of Rupert’s electronic effects, musical cues, demos, loops, drones and outtakes.

“I was shocked when I saw the credits for the film because Rupert had created almost all of the music, effects and lovely atmospheric stuff” Anthony Phillips / Genesis.

Listen closely and you’ll hear Rupert’s sounds throughout the film, often discreetly mixed by award-winning sound editor Alan Bell (The Man Who Fell To Earth, The Bounty) and Tony Jackson who use them to establish the film’s creeping dread. At other times Rupert’s effects are used to startling effect, violently jolting viewers as the occult drama unfolds. Rupert was an early adopter of new technology and amongst the sonic experimentation there are some gorgeous synthesised pieces using the Yamaha CS80, 4 years before Vangelis used the same instrument to create his legendary Bladerunner score.

Rupert sadly passed away before completion of the tape transfers but it’s clear from the wealth of material we uncovered how immersed he was during the soundtrack’s production. It’s a testament to his creativity that, with a fairly simple studio set up, Rupert was able to conjure such an inspired selection of themes and effects.