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Baby Driver’s genre- and decade-spanning soundtrack not only factored into the film’s story, but also its massive appeal. Its epic, 30-track collection was a bestseller that scored two Grammy nominations and cracked the top five on Billboard’s Alternative Album chart. Now, director Edgar Wright has announced a sequel soundtrack featuring a bevy of exclusive tracks, remixes, and film dialogue.

Baby Driver Volume 2: The Score For a Score kicks off with Danger Mouse, Big Boi, and Run the Jewels’ Grammy-nominated “Chase Me” before easing into cuts from The Foundations, Boards of Canada, Sky Ferreira, and The Steve Miller Band, as well as selections from Steven Price’s unreleased score. Exclusive to the collection is Vinnie Maniscalco’s “TaKillYa (Baby Driver Mix)” and Kid Koala’s “Deborah”. – Consequence of Sound

Luca Guadagnino’s remake of a horror classic features Yorke tackling a broader range of styles and ideas than any of his previous solo work, and all of them shine. 

However it may work in the film, on its own, Yorke’s score tackles a broader range of styles and ideas than any of his previous solo work, and all of them shine. There are appropriately cinematic, minor-key passages for piano and strings; great sheets of electronic buzz; gorgeous choral miniatures with a whiff of Arvo Pärt’s arctic grace; brooding, gothic Americana; and striking forays into pure electronic abstraction, the kind of thing you might have found on the German experimental label Mille Plateaux in the late 1990s. – Pitchfork

Finders Keepers Records' continued and unwaning commitment to preserving the archives of composer Suzanne Ciani pays off in an avalanche of dividends with this latest master tape discovery, placing further markers in the historical development of electronic music and cinematic composition. Developed at a lesser-documented axis combining Ciani's key disciplines as a revolutionary synthesist and an accomplished pianist, these early works from 1973 capture a rare glimpse of one of the world's most important electronic music figures embarking on the early throes of a fruitful career as a film composer and sound designer with this rare and previously unheard documentary music illustrating the first-ever skiers' decent from the peak of the tallest mountain in Alaska. Capturing innocence and optimism in its composition, but never less than masterful in its realisation, Denali takes what would later become the yin and yang in Ciani's versatile musical personality and provides unrivalled vistas from both side of the mountain, scaling a treacherous and fine creative line.

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Within the context of Suzanne Ciani's achievements the words “maverick” and "pioneer" have regularly shared sentences amongst a list of "firsts" when documenting her expansive CV as a Grammy nominated, million-selling recording artist, and genuine revolutionary in the progression of future music in all its early capacities. But it is with this important release of uncovered recordings from early 1973 that Ciani's "exploratory" compositions from her formative years find kinship alongside the exploits of other radical and historic trailblazers, as the music for the film known only as Denali finally achieves a wider vantage point. Commissioned in the early years of Suzanne's "professional" life, in a period that bridged her activities with art installations, experimental theatre and her rising reputation as a film composer and sound designer, the Denali tape reels preceed Suzanne's film work such as Lloyd Michael Williams Rainbow's Children (1975) and Bryan Forbe's The Stepford Wives (1975) by just 18 months, and capture Suzanne at her wide-eyed best two years after scoring her first-ever paid work providing synthesiser loops for aquariums in Middle America shopping malls  – Bandcamp

Music from throughout sigur ros's career, twisted, bent, broken and finally added to in the band's reyjavik studio, to create a new perspective for a dance piece of the same title initiated and created by taiwanese choreographer Cheng Tsung-ling. Musical director Kjartan Holm.  - Linear Notes

This is the soundtrack to the first film of Chan-wook Park’s Vengeance trilogy, released in 2002. The film is a crime thriller that follows a botched plot to kidnap the daughter of a small business owner, the plan having been to use the ransom money to pay for a kidney transplant. When the child is accidentally killed, the situation flies out of control as the plot unfolds unpredictably. The film portrays the aspects of human psychology as the protagonists are pulled into the maelstrom, while also focusing on the nature of evil. The soundtrack was provided by UhUhBoo Project, an experimental unit by Hyun-jin Baek (singer) and Young-gyu Jang (producer / bass) who seek to fuse local traditional music with avant-garde /contemporary rock. This is an astounding soundtrack that includes several experimental tracks that fully embody the unique style of UhUhBoo, as well as some folk songs and contemporary pieces. The soundtrack, which was released at the same time as the film, was sold out almost immediately. This left no more copies in circulation, making it nearly impossible to find in its entirety. This vinyl issue is the first reissue of this soundtrack since its original release in 2002. – Light In The Attic