Bear McCreary is an Emmy-winning score producer and composer whose work draws parallels to Howard Shore, Hans Zimmer, John Williams, and other contemporary classical orchestrators. From the unsettling to the epic, he has showcased his ability to compose music for a variety of atmospheres, enhancing the viewer experience across the board. Here is our list of McCreary’s best soundtracks from a selection of video games, shows, and movies.
The Walking Dead (2010-)
.jpg "10 Best Bear McCreary Scores, From 'Outlander' to 'The Walking Dead' (1)")
This AMC show is a dark tale about the zombie apocalypse, and McCreary composes the perfect haunting backdrop. Some may think the show’s body horror is its most important asset; however, for scenes where gruesome visuals are hidden by dark lighting and shadows, sound is vital to balance everything out. The songs aren’t limited to the hair-raising abrasiveness of the opening title. Softer moments such as Rick reading Carl's letter in Season 8 are met with a gentle guitar and piano. Yet McCreary also evokes intense emotions in intimate, heart-wrenching scenes, such as in the penultimate episode of Season 9, where each drum beat and key change signals a devastating reveal to the audience.
Call of Duty: Vanguard (2021)
As you face the end of World War II in this first-person shooter game, you’ll be accompanied by a beautiful string-heavy score throughout quiet moments and large-scale action sequences. During these grand fighting scenes, the orchestrations may resemble the traits of a Hollywood action film, drawing similarities to Hans Zimmer’s epic crescendos in scores like Inception.
RELATED: 'Masters of the Universe': Kevin Smith Emotionally Reveals Bear McCreary's Epic Score for Netflix Animated Show
Child’s Play (2019)
The score for a film about a homicidal robotic doll is obviously supposed to be creepy, but the brilliance of McCreary’s work is his use of noises from real children’s toys throughout the soundtrack. Using toys such as xylophones and otomatones, he gives the soundtrack chirpy, childlike sounds that add to its unsettling nature. “The Buddi Song” and the main theme feature vocals from the brilliant Mark Hamill, creating an ambiance as disconcerting as Chucky himself.
God of War (2018)
Since 2018’s God of War moves away from Ancient Greek to Norse mythology, McCreary incorporates low, ominous Norse vocals into the 2018 soundtrack. Kratos’ theme, layered with a repeating three notes dominated by low male vocals, is featured throughout the soundtrack both melodically and in deeper, heavier interpretations. Though it represents a more brass, harsh tone, songs like “A Giant’s Prayer” feature beautiful, light strings that evoke passionate emotions. “The Summit” is a stunning orchestration with sorrowful vocals to reflect the melancholia of a devastating scene between Kratos and Atreus.
Outlander (2014-)
This soundtrack may be best known for its main title theme, sung by Raya Yarbrough, McCreary’s wife. Many have revered Outlander for its fantastic depictions of history, and McCreary’s use of traditional Scottish instruments, including bagpipes and accordions, help to immerse viewers into the setting. In fact, he revamped the score over the seasons to include different instruments as the setting changed. Along with the folk-style Scottish fiddle, McCreary also includes lush orchestrations that reflect the calm tranquility of Howard Shore’s The Lord of the Rings soundtrack. He was nominated for Outstanding Music Composition for a Series at the 2015 Emmy Awards for his work on the series.
Battlestar Galactica (2004-2009)
This soundtrack contains a diverse array of sounds all strung together by McCreary’s use of leitmotifs. One of the most notable melodies is in “Wander My Friends,” set to beautiful Gaelic lyrics. The theme can be heard throughout the series, ranging from a grand orchestration to a one-instrument tune. The angelic strings in “Passacaglia,” duduk melody in “Kobol’s Last Gleaming,” and striking electric guitar in “Kara Remembers” are just a few examples of Battlestar Galactica’s heterogeneous music.
Godzilla: King of the Monsters (2019)
McCreary included elements of Akira If*ckube’s original score into the King of the Monsters soundtrack. His composition provides a satisfying modern take on the classic Japanese films. No doubt an epic orchestration, it includes songs reminiscent of heroic themes by John Williams, while songs like “Battle in Boston” mimic the howling horns and pounding drums of Hans Zimmer’s most intense songs. McCreary composes a score more than worthy to stand among its predecessors.
Agents of S.H.I.E.L.D. (2013-2020)
McCreary’s work on Marvel’s longest-running TV Show, Agents of S.H.I.E.L.D., should be a testament to how deserving he is to work on larger-scale MCU projects. Tracks like “Rocket Launch” showcase how a pleasant tone can swiftly turn ominous, adding to the sense of betrayal the viewer feels when Skye secretly shows loyalty to an enemy group of S.H.I.E.L.D. Another example of McCreary’s versatility, this score includes electronic rhythms that represent S.H.I.E.L.D.’s upper-class technology while the sweeping strings provide the epic feel of heroism.
The Rings of Power (2022-)
The Rings of Power soundtrack contains the powerful and whimsical elements of the original by Howard Shore. Some may notice callbacks to Shore’s earlier works in the songs “Khazad-dûm” and “Galadriel.” Tracks like “Khazad-dûm” sweep you into the magic of the series as the waterfalls and lush greenery of the dwarves’ realm are accompanied by striking strings and haunting vocals. Though Shore composed the main title, McCreary holds his own in creating a soundtrack that enhances the story, and we can’t wait to see how the music is utilized in upcoming episodes.
10 Cloverfield Lane (2016)
The second film in the Cloverfield franchise, this soundtrack proves a worthy successor to Michael Giacchino’s work in the first film. McCreary utilizes unique instruments such as the blaster beam and yayli tanbur (which McCreary had previously used in Da Vinci’s Demons) to give the film its distinct sound. The opening song, “Michelle,” is where the tanbur can be heard more predominantly. It provides a foreboding tone that sets up the rest of the movie and consists of a harmonic progression that is sure to replay in your head long after the film ends. The blaster beam is an instrument featured in Star Trek: The Motion Picture and is not heard often in film scores, yet McCreary uses it to apply a deep, unsettling electronic sound, an individualistic approach that illustrates his creative vision.
