Anvil of Crom | Through the Shattered Lens

Composer Basil Poledouris crafted one of cinema’s most powerful and enduring scores for John Milius’s Conan the Barbarian. His sweeping orchestral sound defines the film’s mythic tone, giving the story its emotional depth and sense of destiny.

From the first track, “Anvil of Crom”, Poledouris sets the stage with thunderous brass and relentless percussion — a musical invocation of strength and survival that announces the film’s world of gods, warriors, and fate.

Today’s selection, “The Leaving/The Search”, accompanies Conan’s departure into exile and his first steps toward vengeance. The piece moves with controlled majesty — its somber strings and noble themes capturing both the loneliness and courage inherent in his quest. It’s music that transforms the hero’s physical journey into a spiritual pilgrimage.

Other unforgettable themes include “Orphans of Doom/The Awakening” and “Atlantean Sword”, each echoing the film’s blend of melancholy and grandeur. Yet it’s “The Leaving/The Search” that best represents the score’s heart — a reflection of loss and perseverance wrapped in orchestral beauty.

Poledouris doesn’t just score a fantasy adventure — he gives it a sense of history and feeling that makes it linger long after the credits roll. His work turns Conan the Barbarian into more than a sword-and-sand saga; it’s a story that feels legendary in its own rough-edged, heartfelt way.

For today’s “Song of the Day,” I couldn’t decide between two tracks I had in mind—so I decided to feature them together. This time, it’s not just a “song of the day,” but “songs of the day.” Once you hear what I’ve chosen, you’ll understand why they belong side by side.

The latest selections come from film score composer Basil Poledouris, taken from what many consider his finest work and one of the greatest film scores ever written for the big screen: Conan the Barbarian (1982). The two tracks—Anvil of Crom and Riddle of Steel/Riders of Doom—especially in the Varese Sarabande release, form the powerful and unforgettable musical introduction to the Hyperborean world Conan inhabits.

Anvil of Crom opens the film with thunderous intensity. Timpani drums drive the rhythm while a massive ensemble of 24 French horns and bold brass deliver an overwhelming sense of might and grandeur. This introduction has become synonymous with Conan the Barbarian, earning fame well beyond the film itself—it’s often reused by other filmmakers in trailers for its commanding energy. Even though the piece runs under three minutes, Poledouris’s composition immediately establishes the epic tone audiences should expect from the journey ahead.

Following it is Riddle of Steel/Riders of Doom, which introduces the musical motifs for Conan and his nemesis, Thulsa Doom. The track begins peacefully, gradually building into Conan’s theme—the “riddle of steel” referenced in the title. This serenity is soon shattered as Riders of Doom emerges, dark and orchestral, marking Thulsa Doom’s presence. The second half bears a clear resemblance to Carl Orff’s Carmina Burana, and while some critics suggest Poledouris leaned too heavily on Orff’s influence, I disagree. He may have drawn inspiration, but his execution stands triumphantly on its own, resulting in one of the most iconic pieces of film music ever composed.

Heard back-to-back, it’s evident why these two tracks must come as a pair. Anvil of Crom and Riddle of Steel/Riders of Doom are inseparable—an epic one-two punch that gives real force to the film’s opening narration by Conan’s chronicler, who speaks of “the days of high adventure.” The music doesn’t just accompany the words—it drives them home with a surge of raw, mythic power that perfectly captures the spirit of ancient legends and the world’s forgotten ages.