Long before Hawkins, the Demogorgon, or even Christmas lights spelled out ominous messages, the Duffer Brothers were plotting a series that felt like a love letter to the 1980s. They wanted the show to have authenticity, a pulse, and a sonic signature that could transport viewers back in time while remaining suspenseful. Enter Michael Stein and Kyle Dixon of Survive, whose haunting electronic music had already turned heads with its use in the 2014 film The Guest. The Duffer Brothers, fans of Survive’s ominous, textured soundscapes, reached out in July 2015 as the production gears for Stranger Things began turning.
Stein and Dixon brought to the table dozens of pre-existing tracks, allowing the production team to immediately envision Hawkins’ eerie atmosphere. “The Duffer Brothers had been fans of Survive’s music,” the duo recalled, underscoring the mutual admiration that sparked the collaboration. It wasn’t just about having music on hand; the track “Dirge” was used in the mock trailer that ultimately pitched the show to Netflix, embedding the 1980s-inspired horror aesthetic before a single frame of the series had aired. From the very start, the music was integral—not a mere accessory, but a crucial storytelling tool.
Once onboard, Stein and Dixon didn’t simply drop tracks into scenes. They meticulously wove together pre-existing material and original compositions, collaborating closely with producers to ensure the music heightened emotional stakes. Each character received their own musical motifs. These cues were so essential that during auditions, demos often played over the tapes of potential cast members. In other words, the music helped shape who would embody Hawkins’ next generation of heroes.
Even the now-iconic opening theme had its genesis in an unused composition Stein had created earlier. Through iterative refinement, it evolved into the instantly recognisable synth motif that bookends every episode, instantly signalling the tone of mystery, suspense, and supernatural adventure. The theme functions as more than an introduction; it is an atmospheric gateway, ushering viewers into a world where nostalgia and fear coalesce.
Stein and Dixon’s approach exemplifies a rare synergy between sound and storytelling. Every hum, pulse, and oscillating note amplifies narrative tension or emotional resonance, whether it’s the heart-stopping terror of a Demogorgon encounter or the quieter, tender moments between Eleven and Mike. By designing music that actively participates in the narrative, the duo elevated Stranger Things from homage to immersive, multi-sensory experience.
The first season’s soundtrack comprised 75 distinct pieces, released by Lakeshore Records in August 2016. Digital platforms and physical albums allowed fans to revisit Hawkins musically, long after the screen had gone dark. These compositions didn’t simply complement the visuals—they carried the series’ identity into pop culture. Listening to the soundtrack evokes a rush of nostalgia for the 1980s, conjuring everything from John Carpenter-esque horror to the synth-heavy aesthetics of Vangelis and Jean-Michel Jarre.
Stein and Dixon’s music also created ripple effects beyond the screen. By connecting narrative arcs with sound, the show fostered a deeper bond between viewers and characters. Emotional peaks were elevated by motif usage; suspense was amplified by layered synths; even casual references to songs or styles became cultural touchpoints. Their work illustrates how a television soundtrack can achieve autonomy, living alongside the series as a recognized entity in its own right.
As Stranger Things gears up for Season 5 in November 2025, the duo’s sonic fingerprint will undoubtedly shape the series’ final act. From establishing mood to defining character, Stein and Dixon’s contributions remain central to the show’s enduring identity. For fans, the music of Stranger Things isn’t merely a nostalgic nod to a bygone era—it’s the emotional heartbeat of Hawkins, Indiana, and a guiding force through the mysteries of the Upside Down.
