![]() ![]() While Atomic has its moments of spellbinding awe (the colossal ascent of opener “Ether” would sit neatly among the larger-than-life melodies of 2006’s Mr. In the 15 years since, we’ve seen a plethora of collaborations and sync deals, whether that be the aforementioned Icelanders turning up copiously across nature documentaries and commercials (most notably in one for David Attenborough’s Planet Earth), Explosions in the Sky’s heart-on-sleeve tumult ably showcasing the highs and lows of Friday Night Lights, or Mogwai’s handful of cracks at the soundtrack whip – see their exemplary scores for Zidane: A 21st Century Portrait and acclaimed French supernatural series The Returned for documents of the band at their most audio-visually effective.Ītomic, comprised of reworked versions of tracks from the band’s recent soundtrack for Mark Cousins' Atomic: Living in Dread documentary - which chronicles the vast spectrum of positives and negatives that have come with the nuclear age, particularly during the cold war years - comes marketed somewhere in between an OST and a standalone album in its own right, and it’s in this identity crisis that problems arise.Ĭhart a course across the group’s entire output – from the game-changing brutalism and beauty of 1997’s Young Team right through to their last outing proper, 2014’s Rave Tapes – and, outside of given sonic similarities, the crucial constant found is a giddy sense of glee at causing an almighty ruckus out of nothing, at consistently unearthing new sounds and textures to enlighten, enrapture and terrify in equal measure. From the moment Sigur Rós’ sweeping “Svefn-g-englar” was deployed so effectively in 2001 Cameron Crowe psych-thriller, Vanilla Sky (earning an Oscar nod in the process), post-rock has become a go-to source of inspiration for a certain gene pool of soundtracks.
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