Riverdale's co-composers Sherri Chung and Blake Neely work behind the scenes to help bring to life this season's mysterious Gargoyle King. The scores they compose for the hit CW series are almost like an unseen character, but help guide and set the mood of Riverdale's dark shenanigans.

Sherri got her start in TV on series such as Family Guy and American Dad, but her first gig writing music for a TV show was with Blake on Supergirl. The duo has scored some of the CW’s most popular television show, including Arrow, The Flash, and Legends of Tomorrow. Sherri credits the Robin Hood: Prince of Thieves soundtrack, as well as an early piano education, for her interest and eventual career in film and TV music composition. “I was just kind of obsessed with [the CD] for a while, and then I was like, oh, I can do that to movies,” she tells Teen Vogue. In fact, the Robin Hood: Prince of Thieves soundtrack was her first-ever CD.

Teen Vogue recently caught up with Sherri to talk about her process, creating "swamp goth," and what it was like to score Riverdale’s noir episode, "Chapter Forty-Six: The Red Dahlia."

Teen Vogue: What inspires you as you work?

Sherri Chung: I’m one of those people that gets really inspired by what they see, [or] some of the dialogue, or maybe even just a look that Betty might give Jughead, or a little bit of sarcasm in Veronica’s eyes. I get a lot of ideas from what the actors are doing.

TV: How do you and Blake [Neely] work together?

SC: When we start an episode, we’ll get it in, and we’ll take a look at it, and we’ll talk about the overarching storyline of that episode and kind of divvy up each scene. A lot of times we’ll do it by storyline because once you start on a storyline you tend to have that material that is consistent. Then we do write in separate rooms. We both use Logic as our platform and each of our sessions is loaded up with sounds that we created to make that Riverdale sound, or to make that sound of the individual characters, and just kind of go for it and see what we come up with.

TV: How do you come up with the specific character signature sounds? Are you always using it when the character is onscreen? For example, the Gargoyle King?

SC: We started out the season talking about the Gargoyle King with the producers and they were saying, we really want [a sound] like, “swamp goth.” Blake and I were like, "what the heck is swamp goth, how does that translate to music?" So we played around with some ideas and that seemed to really resonate with the producers. It’s always my thought to have that same sort of sound on him because the Gargoyle King, in particular, is just this thing, or this person, or this entity—I think it’s important that we have the distinct sound that just gives you that creep factor because we don’t know what [the Gargoyle King] is.

TV: What kind of Riverdale scene is your favorite kind to score?

SC: I love the Lodges, I love their entire storyline, [and] individually they all have their own very different moods. They’re kind of my favorite. But then, you gotta love Josie. I love all of them, but I do love those ones in particular because they’re so layered. Actually, the show always is changing—sometimes it’s action and suspense, and sometimes they’re just in school. It’s really fun, and this is why it’s cool to work with a co-composer, especially Blake, who’s obviously very talented. It’s fun because we can switch a little bit with the storylines and kind of change it up.