Back catalogue: Soundtracks

Review: Joe Hisaishi's latest release offers a compelling fusion of classical and cinematic music. The compositions, originally crafted for film soundtracks, are reimagined with orchestral arrangements that breathe new life into the pieces. The album showcases Hisaishi's signature style, blending emotive melodies with intricate orchestration. Listeners are treated to a rich auditory experience that highlights the depth and versatility of Hisaishi's work.

Review: The Pom Poko (Original Soundtrack), now available on vinyl, offers an excellent blend of Japanese traditional music, samba, mambo, and more. Composed by Shang Shang Typhoon, the soundtrack beautifully complements Isao Takahata's 1994 Studio Ghibli film, Pom Poko. The movie, which explores the story of tanuki (raccoon dogs) fighting against urban development, is a whimsical yet poignant reflection on environmental themes and Japanese folklore. 'Itsudemo Dareka ga' brilliantly shows an example of the album's rich and evocative soundscape, merging lively rhythms with the film's emotional core. The diverse use of instruments creates a vibrant atmosphere, reflecting the tanuki's playful and mischievous spirit while blending moments of melancholy with the encroaching destruction of their forest home. This reissue marks 30 years since the film's release and provides a perfect soundtrack for fans of both Ghibli and world music. Experience this soundtrack that will transport you back to the magical world of Pom Poko.

Review: The original motion picture soundtrack for The Truck Turner delivers a thrilling blend of gritty funk, soul and high-energy jazz that perfectly complemented the 1974 blaxploitation classic. Composed by the great Isaac Hayes, the soundtrack is a dynamic showcase of his signature style that blends soulful melodies with intense orchestral arrangements. Tracks like 'Main Theme' and 'Breaking Into The Business' capture the raw energy and tension of the film while Hayes' deep voice and lush arrangements bring an added layer of sophistication to the score.

Review: The 20th Anniversary Edition of the Beyond Good & Evil official soundtrack offers a revitalised take on the game's original music. The soundtrack features a full orchestra which manages to preserve the intimate, improvised feel of the original compositions while adding new tracks recorded with unconventional instruments. Christophe Heral, the composer, speaks of the balance between modern orchestration and the quirky, spontaneous creativity that defined the 2003 release in the accompanying notes. With additions like a broken guitar and unique tuning, this anniversary edition celebrates the artistic spirit of the franchise and offers a fresh yet faithful homage to the original music.

Review: Matthew Herbert's score for Starve Acre is an atmospheric blend of tension and subtlety, perfectly complementing the film's eerie rural setting. Known for his innovative soundtracks - as well as his innovative house productions - Herbert delivers a composition that merges traditional orchestral elements with unsettling electronic soundscapes. The result is a haunting mix that mirrors the film's themes of grief, folklore, and the supernatural. Throughout the score, Herbert balances delicate, pastoral melodies with darker, more ominous tones. Tracks swell gently before giving way to deeper, more unsettling layers, capturing the oppressive sense of dread that permeates the film. The inclusion of two renditions of 'Let Me In' i one performed by actor Matt Smith and another by folk-electronic duo Crewdson & Cevanne i adds a folkish, melancholic edge to the soundtrack. Each version offers a distinct interpretation, with Smith's stripped-down approach contrasting with Crewdson & Cevanne's more textured take. Overall, Herbert's minimalist yet powerful score elevates the haunting atmosphere of Starve Acre, turning it into an unsettling sonic experience. Fans of atmospheric soundtracks and experimental compositions will appreciate the subtle craftsmanship on display.

Review: Pirates have always had a pretty rough time in the land of video games. On the face of it, there's so much about bandits-on-the-waves that should work perfectly for a playable adventure. And yet so few have managed to really crack the formula, save for the likes of Assassin's Creed Black Flag and Sid Meier's standard-bearing Pirates. Enter Skull & Bones, a high spec 2024 release which - having reportedly spent the best part of a decade in development hell - really wants to change the sketchy track record. Sadly, it only partly manages it, with reviews pointing to a title that's "almost great", but not really. Nevertheless, the aesthetics and effects have been praised, as has the music. Created by Tom Holkenborg, AKA Junkie XL, while much of it is relatively bombastic classical stuff, there's more than a garnish of experimentalism, ambient and avant garde here, too.

Review: How do you start describing the Mad Max universe to someone who's never been to the Mad Max universe? A relentless post-apocalyptic chase sequence across waterless badlands where H20, oil and ammo are the key motivators, alongside personal safety? A landmark science fiction that swerves high tech in favour of brute force and scavenged equipment and infrastructure? How about: a vision of a dried up, barren, desolate future where desertification and the absence of stuff are the defining factors? Australian cinema is at its best when opting for unsettling quiet and sparse settings, and Mad Max set a precedent for that. The modern incarnation of the 1979 original upped the special effects ante and made things a whole lot busier, but never lost that feeling of isolation and vulnerability. Now the latest instalment in the 21st Century series continues where predecessor, Fury Road, left off, and Tom Holkenborg clearly understands what it should mostly sound like. The dull thud of distant machines, a spluttering engine passing by, and near silent tension are the highlights here.

Review: Moviegoers have been obsessed with man v beast since the first cameras were rolling on the earliest motion pictures. Der Golem, a 1915 German silent film buy Paul Wegener, is often cited as the first example of an on-screen creature, and since then they have come thick, fast, and usually pretty scary. At least at first. Of all the monsters out there, though, none come close to the scale of King Kong. Well, OK, maybe Godzilla. The pair certainly give each other a run for their money in the size stakes, and they've been pitted against each other several times before. Godzilla X Kong: The New Empire is the latest incarnation of that premise, Adam Wingard's 2024 flick. Here's the soundtrack, which is as bombastic and thrilling as you would hope from a major blockbuster like this.