![Beasts Of No Nation: The score to Netflix's first foray into feature films opens with a beautiful, optimistic chorus of flutes. Later, as the film has taken a darker turn, distant, rumbling drum rolls - like army trucks crawling down dirt roads - lurk beneath ominous cellos and guitars. The soundtrack ends with a haunting, a cappella cover of Ebo Taylor's 'Twer Nyame'.]()
Beasts Of No Nation: The score to Netflix's first foray into feature films opens with a beautiful, optimistic chorus of flutes. Later, as the film has taken a darker turn, distant, rumbling drum rolls - like army trucks crawling down dirt roads - lurk beneath ominous cellos and guitars. The soundtrack ends with a haunting, a cappella cover of Ebo Taylor's 'Twer Nyame'.
![It Follows: There's a consistently unnerving lack of time period or season in David Robert Mitchell's critically acclaimed supernatural horror film, and Disasterpeace's score follows in the same vein. There's no real genre or melody on which to cling for comfort, just a cacophony of industrial feedback and staticky soundscapes. Like the film itself, it's beautiful and horrible all at once.]()
It Follows: There's a consistently unnerving lack of time period or season in David Robert Mitchell's critically acclaimed supernatural horror film, and Disasterpeace's score follows in the same vein. There's no real genre or melody on which to cling for comfort, just a cacophony of industrial feedback and staticky soundscapes. Like the film itself, it's beautiful and horrible all at once.
![A Girl Walks Home Alone At Night: Watch this self-proclaimed]()
A Girl Walks Home Alone At Night: Watch this self-proclaimed "Iranian vampire Western", and you'll find yourself yearning to become a vengeful, feminist vampire who shimmies around in their room to Farah's 'Dancing Girls'. This incredible soundtrack leaps between middle eastern scales and thumping dance beats. There's one scene which sees the eponymous Girl turns round to face another character incredibly slowly, while White Lies' 'Death' plays out in full, and it's one of the most intense viewing experiences of recent years.
![Brooklyn: With all the poignant nostalgia and quiet optimism that the film projects, with the help of Saoirse Ronan, so beautifully, Michael Brook's score is an understated marvel. Iarla O Lionaird's partly unaccompanied cover of the Irish folk song 'Casadh an Tsugain' partway through is an undeniable highlight.]()
Brooklyn: With all the poignant nostalgia and quiet optimism that the film projects, with the help of Saoirse Ronan, so beautifully, Michael Brook's score is an understated marvel. Iarla O Lionaird's partly unaccompanied cover of the Irish folk song 'Casadh an Tsugain' partway through is an undeniable highlight.
![Diary Of A Teenage Girl: This poignant, humour-filled portrait of adolescent sexuality was given an 18 rating, which meant that much of its target audience weren't allowed to watch it. Thankfully, they can listen to its soundtrack, which comprises '70s gems from T. Rex, The Stooges, Mott The Hoople, Television and more.]()
Diary Of A Teenage Girl: This poignant, humour-filled portrait of adolescent sexuality was given an 18 rating, which meant that much of its target audience weren't allowed to watch it. Thankfully, they can listen to its soundtrack, which comprises '70s gems from T. Rex, The Stooges, Mott The Hoople, Television and more.
![Carol: Comprising mostly Carter Burwell's moody instrumentations - which somehow straddle both the old and the new - interrupted by scratchy '50s classics from the likes of Billie Holiday and Georgia Gibbs, the soundtrack to Carol adds further depth and richness to Todd Haynes' beautiful adaptation of Patricia Highsmith's beloved novel.]()
Carol: Comprising mostly Carter Burwell's moody instrumentations - which somehow straddle both the old and the new - interrupted by scratchy '50s classics from the likes of Billie Holiday and Georgia Gibbs, the soundtrack to Carol adds further depth and richness to Todd Haynes' beautiful adaptation of Patricia Highsmith's beloved novel.
![The Martian: Cynics might try and claim that The Martian's disco-heavy soundtrack is jumping on the Guardians of The Galaxy's Awesome Mix bandwagon, and they'd probably be right... but when you're watching Matt Damon navigate mars while David Bowie's 'Starman' plays, it's hard to care.]()
The Martian: Cynics might try and claim that The Martian's disco-heavy soundtrack is jumping on the Guardians of The Galaxy's Awesome Mix bandwagon, and they'd probably be right... but when you're watching Matt Damon navigate mars while David Bowie's 'Starman' plays, it's hard to care.
![Mad Max: Fury Road: Any film which features a masked man wielding a flame-throwing guitar, harnessed to a pile of speakers on the back of a speeding lorry, is going to have a melodramatic, relentless, faintly disturbing score to match.]()
Mad Max: Fury Road: Any film which features a masked man wielding a flame-throwing guitar, harnessed to a pile of speakers on the back of a speeding lorry, is going to have a melodramatic, relentless, faintly disturbing score to match.
![Inherent Vice: With Radiohead's Jonny Greenwood composing the film's score - his third collaboration with Paul Thomas Anderson, following on from There Will Be Blood and The Master - and the likes of Can's 'Vitamin C' sandwiched in too, this soundtrack made up for how disappointing this confusing, overly long film was.]()
Inherent Vice: With Radiohead's Jonny Greenwood composing the film's score - his third collaboration with Paul Thomas Anderson, following on from There Will Be Blood and The Master - and the likes of Can's 'Vitamin C' sandwiched in too, this soundtrack made up for how disappointing this confusing, overly long film was.
![Kill Your Friends: Owen Harris' adaptation of John Niven's novel might not have gone down particularly well with critics or audiences, but it's got one thing going for it - a bloody good, Britpop-filled soundtrack - from Oasis to Radiohead to Echo And The Bunnymen. Given that it's a film about the British music industry, we'd have expected nothing less. We're just not sure what Bastille were doing in there.]()
Kill Your Friends: Owen Harris' adaptation of John Niven's novel might not have gone down particularly well with critics or audiences, but it's got one thing going for it - a bloody good, Britpop-filled soundtrack - from Oasis to Radiohead to Echo And The Bunnymen. Given that it's a film about the British music industry, we'd have expected nothing less. We're just not sure what Bastille were doing in there.