Back catalogue: Soundtracks

Review: Painter, musician, actor, director and producer. John Lurie has done a lot in his time, whether that's appearing in 19 movies, composing for 20 TV shows and films - including some of those he was the star of - or producing primitivist art work. Here, we get to engage with two of those back catalogues, even if only because these are scores to a pair of his most iconic flicks. Always cool and stripped, Lurie's stuff is the kind of experimental-leaning jazz that works so well when setting the scene. And this applies off screen, IRL too: pressing play here will only serve to create a mood wherever you are, no matter what you're doing. One of shadowy streets, yellow hued spots, smoky barrooms and dark backrooms, a sense of after hours exploration.

Review: To understand Didn't You Hear the soundtrack it's important to get a bit of the back story behind this obscure and genuine rarity. Didn't You Hear the movie was a little-known and unarguably strange 1983 cinema release that barely made it to many screens, but was notable for two reasons - it's one of the earliest acting credits given to Gary Busey, and it features one of the first all-electronic scores, by non-other than Canadian composer and synth pioneer, Mort Garson.

The work still sounds impressive. For the most part it clearly feels like a film score, but some tracks more than stand up on their own grounds. The subdued chaos of 'Bamboo City' could be used by techno and electro DJs today, 'Virgil's Theme' is a reflective slice of melodic ambience, while 'Death Talk & Jeep Approach' is a sparse, minimalistic electronic-classical masterpiece.

Review: Filmed over two nights at LA's Kia Forum, boasting Tobias Forge's charismatic stage presence and a setlist dominated by recent hits, this is a great example for how powerful the band is overall. Tracks like 'Kaisarion' and 'Watcher in the Sky' shine, especially with powerful choral backing and the haunting saxophone solo in 'Miasma.' The show balances theatrical spectacle and genuine warmth, with Forge's message of kindness resonating amid the glitz. While the setlist focuses on newer material, omitting earlier cult classics from Opus Eponymous and Infestissumam, Rite Here Rite Now still delivers a full-bodied, exhilarating experience. New track 'The Future Is a Foreign Land' closes the album on a high, blending retro vibes with catchy melodies and reinforcing Ghost's evolution toward melodic accessibility. A perfect blend of their recent material and their talent at performing them live with a great production.

Region code: NTSC

Review: "What causes a man who has everything to jeopardise his comfort, career and relationship?" High brow movie streaming service MUBI has a habit of asking difficult questions of its audience, although the answer in this case is actually very simple - 5 Hectares of land in Limoges, France. Emilie Deleuze's delightfully quirky - and therefore thoroughly human and honest - comedy is about just that; one guy's dream of owning a plot in stunning serenity, and what he's willing to lose for it. Bobby Gillespie might be something of an outsider choice to score the flick, if it didn't make perfect sense to draft one of indie rock & roll's true eccentric enigmas. Best known as the voice and front face of the mighty Primal Scream, what's here isn't really that, but it's just as broad, varied and forward thinking. From loopy jazzy beats to strange chants, whispered balladry and compressed lo-fi hip hop.

Review: The soundtrack to Graham Eatough's stage adaptation of David Keenan's novel, This Is Memorial Device, composed by Stephen Pastel - of Kurt Cobain faves The Pastels fame - and Gavin Thomson, offers a compelling third iteration of the book's myth. Fusing reworked home recordings from the era with expanded versions of music originally scored for the theatre production, the album captures the essence of Glasgow's post-punk scene from 1978 to 1986. Tracks like 'Introduction To Why I Did It' and 'We Have Sex' evoke a sense of youthful hope and creativity, reflecting the play's exploration of art, music, and romance in small-town Scotland. Directed by Julian House, the video for 'We Have Sex' adds a vibrant visual dimension to the DIY aesthetic of the era. This Is Memorial Device: Music from the Stage Play not only complements the book and stage adaptation but also stands on its own torch for the spirit of post-punk and the power of belief in the transformative potential of art.