Alex G & The Blue Nile Score Jane Schoenbrun’s Camp Miasma

Jane Schoenbrun’s upcoming film, Teenage Sex and Death at Camp Miasma, is set to feature an original score composed by indie artist Alex G and Paul Buchanan, the frontman of the influential Scottish band The Blue Nile. The announcement, made earlier this week, marks a significant creative pairing and continues a fruitful collaboration between Schoenbrun and Alex G.

This isn’t the first time Schoenbrun has turned to Alex G for musical accompaniment. The singer-songwriter previously scored the director’s critically acclaimed films, We’re All Going to the World’s Fair and I Saw the TV Glow, establishing a clear creative synergy. For Buchanan, the project represents a notable return to composing, having largely remained out of the public eye since the release of his solo album, Mid Air, in 2012. His most recent credited work involved a co-writing contribution to a track by Jessie Ware in 2017.

Teenage Sex and Death at Camp Miasma stars Hannah Einbinder and Gillian Anderson and centers around a young film director tasked with reviving a struggling slasher franchise. The narrative takes a dark turn when the director meets the star of the original film, leading both women “into a blood-soaked world of desire, fear, and delirium,” according to the film’s synopsis. Schoenbrun herself has described the project as an attempt to capture the essence of a “sleepover classic”—a film that feels both unsettling and comforting, appealing to a nostalgic desire for late-night, slightly dangerous entertainment.

Schoenbrun’s vision for the film, as she articulated in a recent interview, is to create “an insane yet cozy midnight odyssey that beckons to unsuspecting viewers from the horror section at the local video store.” This ambition suggests a film that isn’t simply aiming for scares, but rather a specific atmosphere—one that blends genre tropes with a more nuanced exploration of character and emotion. The director has even referenced films like Portrait of a Lady on Fire alongside a Friday the 13th sequel as touchstones, hinting at a complex interplay between psychological drama and slasher conventions.

The involvement of both Alex G and Paul Buchanan suggests a score that will be equally layered and evocative. Alex G, known for his lo-fi aesthetic and emotionally resonant songwriting, has proven adept at creating soundscapes that amplify the psychological tension inherent in Schoenbrun’s work. Buchanan, brings a history of crafting atmospheric and melancholic soundscapes with The Blue Nile, a band celebrated for its sophisticated arrangements and Buchanan’s distinctive, emotive vocals. The combination promises a score that is both unsettling and beautiful, mirroring the film’s stated intention to be both “insane” and “cozy.”

Buchanan’s relative quietude since 2012 makes his participation in Camp Miasma particularly intriguing. While he’s remained a respected figure among musicians and critics, his output has been limited. This project could signal a renewed interest in composing for film, potentially opening up new avenues for his creative expression. The Blue Nile, formed in Glasgow in 1981, built a devoted following with albums like A Walk Across the Rooftops, renowned for their atmospheric textures and Buchanan’s introspective lyrics. His solo work, including Mid Air, further solidified his reputation as a master of mood and atmosphere.

The pairing of these two artists also speaks to a broader trend in film scoring—a growing willingness to embrace musicians from outside the traditional orchestral world. Independent filmmakers, in particular, are increasingly turning to indie rock artists and electronic musicians to create scores that feel fresh and distinctive. This approach allows for a greater degree of creative freedom and can result in soundtracks that are as integral to the film’s identity as the visuals themselves.

Teenage Sex and Death at Camp Miasma is slated for theatrical release on August 7, 2026. The film’s blend of horror, desire, and psychological exploration, coupled with the unique musical contributions of Alex G and Paul Buchanan, positions it as a potentially significant release within the independent horror landscape. It will be interesting to see how Schoenbrun’s vision translates to the screen and how the score enhances the film’s unsettling and evocative atmosphere.