5 Alien soundtrack Easter Eggs hidden within Alien: Romulus (spoilers)

Alien: Romulus is studded with all manner of references to Alien lore, from the surprise appearance of familiar faces to classic objects like the pulse rifle. But were you paying attention to the Easter Eggs contained within the score?

It's composed by noted composer Benjamin Wallfisch whose successes run the gamut from horror (Lights Out; It Chapters 1 and 2) to rousing superhero adventure (Shazam!) The Alien: Romulus score blends deceptively beautiful themes with brutal onslaughts of orchestral/electronic brutality, and it also forges explicit yet subtle connections with the saga's rich musical history.

Here are the Easter Eggs we spotted.

ALIEN: ROMULUS SPOILERS AHEAD

1. The 20th Century Studios fanfare

Benjamin Wallfisch mirrors the opening of Elliot Goldenthal's score for Alien 3 (1992), transforming the familiar, upbeat refrain of the 20th Century Studios (then Fox) logo into a dissonant, brooding slice of terror. This little vignette isn't included on the Alien: Romulus soundtrack but it's a nice shoutout to the fans nonetheless, and a salute to one of the more underrated Alien films.

2. 'XX121'

Wallfisch openly quotes Jerry Goldsmith's main theme for Alien (1979) at the point where the android Rook (the likeness of Ian Holm) makes his first appearance. Goldsmith's spine-tingling trumpet theme, largely ditched in by Ridley Scott in Alien's original theatrical cut, communicates both the warmth of human endeavour and the cold terror of the unknown. Now, Wallfisch bridges the divide by connecting Goldsmith's material with his own themes.

3. 'Prometheus Fire'

The storyline of Alien: Romulus connects to that of Alien prequel film Prometheus (2012) and this is further underlined in the score. When Rook tells Rain (Cailee Spaeney), Tyler (Archie Renaux) and android Andy (David Jonsson) about the experiments with the black liquid from LV-223, it signals an appearance from Harry Gregson-Williams' noble 'Life' theme. Only here, the nobility is underlined with a dark irony in the face of the horror that's been unleashed on board the Romulus.

4. 'Andy'

Wallfisch deploys a tonal homage to Goldsmith in this track, relying on those eerie, piping flute triads that helped distinguish Goldsmith's score. The fluttering, deceptively gossamer-light textures still retain their power to communicate something, well, alien, and it's terrific to hear how Wallfisch honours what's gone before while striking out with his sweeping new themes for Rain and Andy.

5. 'Elevator Shaft Attack'/'Get Away From Her'

The orchestra gets a frantic workout in the action sequences involving Rain and the xenomorphs. Wallfisch pays homage to James Horner's terse and militaristic, Oscar-nominated score for Aliens (1986), breaking out the anvils, kettle drums and racing strings to hone a razor-sharp sense of tension. There's also more than a touch of Elliot Goldenthal's skittish, avant-garde brutality from Alien 3 and John Frizzell's impressively muscular work from Alien: Resurrection (1997).