The Void-Go-Round

Sunday, April 28, 2013

The Void-Go-Round Going on Indefinite Hiatus

Due to lack of enthusiasm and interest, The Void-Go-Round is going on an indefinite hiatus for the time being as I have no desire to write about music anymore nor the interest to post old reviews that I wrote in Epinions.com. I tried to write a new review on the new My Bloody Valentine album and it didn't go anywhere as it's shelved. Therefore, until I decide to return. This blog will now just be in suspension.

Tuesday, October 23, 2012

Blog News 10/23/12

After a long period of this blog being inactive, I will finally reopen the blog next month. This time around, there won't be music reviews but rather mini-reviews every once in a while. There's been some new releases that I really like as of late while I've been delving into several phases for the past several months. In response to the phases. I'm going to do monthly profiles that I will call the Essentials as I will delve into the discography of an artist or band. There was one this past January on the works of David Bowie from 1969-1980. For November in anticipation for the upcoming release of Celebration Day, I will profile the music of Led Zeppelin where I will be ranking all of their studio and live releases.

If there's any plan for me to write any full album reviews, it would only be a small handful of artists like Nine Inch Nails, Tool, Radiohead, the Yeah Yeah Yeahs, and a few others. That's practically it. I don't think I will be doing album essays anytime soon unless I feel inspired to do so. So of as of now, this blog is back.

Monday, March 26, 2012

Blog News 3/26/12

Due to lack of interest and enthusiasm, I will be temporarily closing the blog for the time being.

During that time when I was writing for Epinions.com, I used to enjoy writing about films and music and there was a great balance for it. There were periods where I would often shift from one thing to another. Once again, that shift has been towards films. There's a lot in that spectrum that I can write about while I've also been divulging into writing screenplays which I'm still doing though sporadically.

While the stuff I'm listening to right now varies, none of the music I listen to has been anything new. In fact, I've been very disenchanted with the music scene altogether. I don't go to concerts very often because I'm always broke. There's really nothing out there that interests me. I have no desire to re-post old reviews from Epinions.com because I don't know what to put out there for the time being. I don't have the desire to re-edit or re-write music reviews either.

Well, that is all to say as I'm going to be posting more on Surrender to the Void which has been my mainstay for now. Until I feel like writing something that relates to music, this blog is now temporarily closed.

Sunday, February 12, 2012

Various Artists-The Life Aquatic with Steve Zissou OST

The soundtrack to Wes Anderson’s 2004 film The Life Aquatic with Steve Zissou is an album that features a different array of music that is led by longtime Anderson collaborator Mark Mothersbaugh. Along with some of Motherbaugh’s score pieces, the soundtrack includes various cuts by David Bowie that is performed by one of the film’s cast members in Seu Jorge. With additional material by Ennio Morricone, the Stooges, Scott Walker, and the Zombies. The soundtrack is an eclectic mix of music that is fun although it is the weakest of all of the soundtrack albums made for the films of Wes Anderson.

Opening the album is Sven Libaek’s Shark Attack Theme which is a song that is a mixture of soothing flutes and woodwinds with an accompanying background of lush string orchestras and vibraphones that play up to the music of Steve Zissou’s documentary. Mark Motherbaugh’s Loquasto International Film Festival is an orchestral score piece that includes soothing string arrangements, a flourishing horn solo, a somber flute, and an acoustic guitar that plays to the world of the film festival that Steve Zissou and crew attends. The next two cuts are songs by David Bowie as the first is the soaring ballad Life on Mars? that plays to a scene where Zissou meets his supposed long-lost son Ned Plimpton. The second Bowie track is in the form of an acoustic cover of the song Starman performed by Seu Jorge as his character sings the song to play up the quirkiness of the film.

The Mothersbaugh score piece Let Me Tell You About My Boat is a mid-tempo piano instrumental that features soft percussions, flourishing woodwinds and string instruments as Zissou takes Ned on a tour of his boat. Seu Jorge’s cover of Bowie’s Rebel Rebel is another acoustic cut as Jorge sings the song to play up the Belafonte’s departure to find the Jaguar shark and kill it. Motherbaugh’s Zissou Society Blue Star Cadet/Ned’s Theme Take 1 is another score piece that is led mostly a soft percussion and a calm piano as it then becomes an upbeat electronic track led by warbling analog synthesizers to play up Team Zissou’s exploration underwater. Devo’s Gut Feeling is a frenetic post-punk track that starts off a bit slow and then build up into something faster with its guitars, drums, and keyboards as it plays up Team Zissou’s continuous journey on sea.

Sven Libaek’s Open Sea Theme is a swift yet calm jazz-piece led by a flourishing piano melody with soothing woodwinds and guitar melodies that plays to the exotic world of the sea that Team Zissou is fond of. Seu Jorge’s cover of Rock N’ Roll Suicide is another acoustic ballad cut that has Jorge playing to some of the somber moments of the film. Ennio Morricone and Joan Baez’s Here’s To You is a mid-tempo track that is led by Morricone’s broad yet sumptuous musical accompaniment as Baez sings the song in an operatic quality as it’s a song that the Jane Winslett-Richardson character listens to in her room as she falls for Ned. Mothersbaugh’s We Call Them Pirates Out Here is a chilling score that includes cadence drum fills and sinister string arrangements as it plays to the arrival of the pirates who decide to take control of the Belafonte and its crew.

Iggy and the Stooges’ Search and Destroy is a raucous proto-punk with blazing guitars and Iggy Pop’s snarling vocals as it’s a scene where Steve Zissou goes on a rampage to attack the pirates aboard on his ship. Paco de Lucia’s La Nina de Puerta Oscura is a flamenco-based piece led by rhythmic claps and flourishing guitars as Steve Zissou seeks aid from his estranged wife Eleanor at her private home. Seu Jorge’s cover of Life On Mars? is presented as a poignant acoustic ballad as he sings to the melancholia that surrounds the Belafonte. The Mothersbaugh score piece Ping Island/Lightning Strike Rescue Op is an electronic instrumental led by a tapping drum machine, fuzzy synthesizer melodies, and soothing flutes and strings that play the same melody as Team Zissou goes on a rescue mission to fight off remaining pirates.

Seu Jorge’s cover of Bowie’s Five Years is another acoustic ballad as Jorge’s character sings to reflect the moments Team Zissou had dealt with following the rescue mission. Scott Walker’s 30 Century Man is a mid-tempo folk piece as Scott Walker sings in his baritone vocals as Ned Plimpton decides to get the team back on track to find the Jaguar shark. The Zombies’ ballad The Way I Feel Inside is a poignant piece with somber lyrics as it is a melancholic tune that plays to a key moment of sadness that occurs in the film. Closing the album is David Bowie’s upbeat rocker Queen Bitch as it plays to film’s final moments as Zissou finds redemption as he and his team walk to the Belafonte.

While the music presented in the soundtrack is fantastic, the big flaw with the soundtrack are what is missing in the soundtrack. Along with more of Seu Jorge’s covers of David Bowie songs that would appear in his The Life Aquatic Studio Sessions album that featured more proper recordings of those songs. The other notable omission is Sigur Ros’ Staraflur which appears in one of the film’s big moments as well as New Order’s Ceremony that was in the film’s trailer. Despite these omissions, the soundtrack for The Life Aquatic with Steve Zissou is still a pretty fun album to get from Wes Anderson and score composer Mark Mothersbaugh.

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - The Auteurs #8: Wes Anderson

Saturday, February 11, 2012

Various Artists-The Royal Tenenbaums OST

The 2002 expanded reissued version of soundtrack to Wes Anderson’s 2001 film The Royal Tenenbaums is an album that features lots of music from the film including its score by then-longtime Anderson collaborator Mark Mothersbaugh. Along with cuts by John Lennon, Bob Dylan, the Ramones, Nico, Elliot Smith, the Vince Guaraldi Trio, the Velvet Underground, Nick Drake, Emitt Rhodes, the Clash, and Paul Simon. It is a soundtrack that is truly eclectic as well as enriching to the whimsical tone of Anderson’s acclaimed film.

Opening the album is a 38-second score piece 111 Archer Avenue by Mark Mothersbaugh that opens with sound of an orchestra tuning up that is followed by a melodic-chiming sound with an orchestra playing briefly. Nico’s evocative These Days is a somber ballad led by a soothing guitar melody, a soft string arrangement, and Nico’s haunting vocals to complement Richie Tenenbaum’s feelings for his adopted sister Margot. The Ysaye Quartet’s performance of Marcel Ravel’s String Quartet in F Major (Second Movement) is an upbeat track filled with string plucking and soothing arrangements performed by the quartet. Paul Simon’s upbeat, acoustic-driven Me and Julio Down by the Schoolyard is a wonderful cut that plays to Royal Tenenbaum’s growing relationship with his grandsons Uzi and Ari as they delve into various forms of mischief.

Mark Mothersbaugh and the Mutato Muzika Orchestra’s performance of George Enescu’s Sonata for Cello and Piano in F Minor is an instrumental piece that delves into various instrumental breaks that includes a sturdy cello, various percussion performances, a somber piano, and a flourishing harpsichord that plays to Chas Tenenbaums’ paranoia. Bob Dylan’s Wigwam, from the much-maligned 1970 album Self-Portrait, is a track that includes mariachi-horns, a slow piano, and a country-style presentation with Dylan singing along to the melodies. Motherbaugh’s Look at that Old Grizzly Bear is a short score piece that is played to a smooth jazz rhythm that is led by a chiming keyboard to play up an object Royal finds. John Lennon’s Look at Me is a haunting acoustic guitar track filled with Lennon’s entrancing lyrics about love as it reflects on the sense of longing between its characters. Emitt Rhodes’ Lullaby is a soft, acoustic guitar track that plays like a lullaby to play up some of the film’s melancholia.

Mark Motherbaugh’s Motherbaugh’s Canon is a plaintive score piece led by a calm harpsichord and a soothing string arrangement as it plays up to Royal’s departure from the family home as he comes to the realization that these brief moments with his family were the best moments of his life. The Clash’s Police & Thieves is a mid-tempo punk track that is quite calm and playful as it’s one of the many Clash songs that often accompanies the character of Eli Cash. Motherbaugh’s Scrapping and Yelling is a playful orchestral cut led by plucking strings, a harpsichord, and a flute to play up some of the film’s whimsical elements. The Ramones’ Judy is a Punk is a short yet fast-paced song with driving guitars and Joey Ramone’s intense vocals as it plays to the scenes of Margot Tenenbaum’s secretive life and numerous affairs. The short score piece Pagoda’s Theme is led by flourishes of sitars and vibrant Indian percussions that plays up to the character of Pagoda.

Elliot Smith’s Needle in the Hay is a dark, folk-track filled with cryptic lyrics and a fast-paced acoustic guitar strum as it plays to one of the most chilling moments of the film. Nick Drake’s Fly is another folk-inspired track that features a soothing cello accompaniment and flourishing harpsichords as Drake sings in a soaring vocal to evocative imagery as it plays to Richie and Margot’s feelings for each other. Mothersbaugh’s I Always Wanted to Be a Tenenbaum is a smooth yet rhythmic piece led by a melodic piano and harp to play up Eli’s own issues including his lack of being in a family. Vince Guaraldi Trio’s Christmas Time is Here is a calm piano-piece that features a children’s choir as it plays to the melancholia that surrounds Richie. The Velvet Underground’s Stephanie Says is a dream-laden track led by melodic guitar chimes, soft rhythms, and Lou Reed’s swooning vocals as it’s a song that accompanies Mordecai’s flight as he returns to Richie.

The next two tracks are score pieces by Mark Mothersbaugh with the first being the reflective Rachel Evans Tenenbaum (1965-2000) that is led by a soft organ that is accompanied by chiming organs and a somber string as Royal visits the grave of Chas’ wife wondering what he can do to help his son. Sparkplug Minuet is led by a tapping piano melody with a chiming vibraphone and soft, frenetic drum fills to play up the aftermath of Etheline Tenenbaum’s marriage to Henry Sherman as Royal watches with a sense of pride. Nico’s The Fairest of the Season is mid-tempo track led by a melodic guitar and a soothing string arrangement to accompany Nico’s vocals as it plays to Margot and Richie having a moment. The closing track is a soaring orchestral cover of the Beatles’ Hey Jude played by The Mutato Muzika Orchestra as it is filled with wonderful arrangements of harpsichords, strings, and all sorts of instruments to play up the early accomplishments of the Tenenbaum children.

The soundtrack to The Royal Tenenbaums is an extraordinary album from Mark Mothersbaugh and Wes Anderson. While it doesn’t feature other material from the film like music from the Rolling Stones, Van Morrison, Erik Satie, and more songs by the Clash. It is still a fantastic album that serves as an accompaniment to the film as well as being one of the best soundtracks to come from Wes Anderson. In the end, the soundtrack to The Royal Tenenbaums is a superb album from Mark Mothersbaugh and the artists that contributed to the album.

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

Thursday, February 9, 2012

Various Artists-Bottle Rocket OST

The soundtrack to Wes Anderson’s 1996 debut film Bottle Rocket is a collection of tracks that largely features the score music of Devo co-founder Mark Mothersbaugh. Filled with an array of jazz pieces, the soundtrack includes music from Oliver Onions, the Proclaimers, Rene Touzet, and SETI. The music plays up to the trials and tribulations of three young men as they try to become criminals in this very fun and playful soundtrack.

Opening the album are five score cuts by Mark Mothersbaugh which begins with Voluntary Hospital Escape. A short, 54-minute track with upbeat, tapping percussions that is filled with flourishing guitar melodies, flutes, and an array of bells. Gun Buyers is an upbeat cut with fast-playing jazz guitar riffs that is played with great flourish to emphasize a scene of Anthony, Dignan, and Bob doing shooting practice. Bookstore Robbery is a vibrant, drum-driven piece with bombastic bass fills and frenetic bongos to play up the energy of the robbery. Dignan’s Dance is a snazzy jazz-piano piece with tapping percussions as it plays to Dignan’s celebration of the robbery. And Also Because He Fired Me is a short piece led by a sleigh bell and a swooning vibraphone to play up the melancholy of Dignan’s ordeal as he, Bob, and Anthony are on the run.

Oliver Onions’ Zorro is Back is a folk-driven piece with a harpsichord intro and guitar flourishes that has a country feel to the song as it has the three men going onto a road trip. Motherbaugh’s Cleaning Rooms with Inez is an upbeat jazz piece with tapping rhythms and smooth vibraphones that plays to Anthony’s infatuation with the cleaning lady Inez. Another Mothersbaugh score piece in She Looks Just Like You is a mid-tempo yet somber guitar-driven piece with tingling keyboards as it plays to Anthony’s fascination with Inez. Rene Touzet’s Pachanga Diferente is a Latin-based track with samba rhythms and blazing horn arrangements that plays up to Anthony’s fascination with Inez. The score piece No Lifeguard on Duty is a low-key jazz piece led by a soft guitar strum, smooth vibraphones, and a soaring violin solo.

Touzet’s Mambo Guajiro is another Latin-based track led by vibrant piano riff with rhythmic congas and a swooning horn section for the bar scene where Dignan and Anthony hang out at with Inez. Rocky is an upbeat jazz piece from Mark Mothersbaugh as it is filled with arpeggio-laden guitar melodies, bopping rhythms, and a soft keyboard riff as it plays more to Anthony’s feelings towards Inez. Doesn’t Sound That Bad in Spanish is a low-key score piece driven by shaking percussions, an oboe, a swooning violin and a melodic acoustic guitar to play up more of Anthony’s feelings towards Inez. The Proclaimers’ Over and Done With is an upbeat folk track led by wailing Scottish vocal harmonies as it plays up to Anthony and Dignan’s departure from the motel as they go back on the road.

The last seven tracks on the album are more score pieces from Mark Mothersbaugh such as the smooth vibraphone-driven of Snowflake Music/Mr. Henry’s Chop Shop that features a shaky sleigh bell as it then segues into a flute-driven jazz piece with a sumptuous bass riff and boppy drum fill. You’re Breaking His Heart is an upbeat jazz piece led by walloping drum fills and a soaring flute as Dignan and Anthony meet up with Mr. Henry about some plans. Goddamnit, I’m In is a piece led by a tingling xylophone with a bopping percussion accompaniment as well as a soft accordion played early in the track. No Jazz is an upbeat jazz piece led by a wailing flute solo that is accompanied by a blazing piano and a steady drum fill to play to a party attended by Dignan, Anthony, and Bob about the upcoming heist.

Highway (Reprised) is another jazz cut led by a flute with a Latin-based guitar solo as it revolves around Anthony wanting to contact Inez. 75 Year Plan is a variation of Voluntary Hospital Escape with more tingling percussions in the mix as well as more Spanish-laced guitars and steady drum fills. The closing track is Futureman’s Theme, a more folk-based cut with a playful jazz rhythm in tapping percussions, washy string instruments, and a wailing accordion as it is a cut that plays to the character of Futureman as well as being the piece played in the final credits.

While the soundtrack isn’t perfect due to the exclusion of the Rolling Stones’ 2000 Man and two songs by the band Love, notably Alone Again Or from their 1967 landmark album Forever Changes. The soundtrack for Bottle Rocket is an excellent album from Mark Mothersbaugh and the artists that appear in the film. It’s a record that is very playful and fun as it is the perfect piece of music played to Wes Anderson’s widely-beloved debut film. In the end, the soundtrack for Bottle Rocket is a superb album for fans of the film.

Wes Anderson Soundtracks: Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom)

Wednesday, February 8, 2012

Various Artists-Fantastic Mr. Fox OST

Originally Written and Posted at Epinions.com on 12/1/09.

The soundtrack to Wes Anderson's Fantastic Mr. Fox is a compilation of material featuring score music by Alexandre Desplat. Desplat's score is a mixture of orchestral music that ranges from various styles of composers such as Nino Rota and Ennio Morricone. Even as the music dwells into elements of folk and twangy music with help from Jarvis Cocker of Pulp who contributes an original song to the film. Along with tracks from Burl Ives, the Wellingtons, Georges Delerue, Nancy Adams, the Bobby Fuller Four, the Beach Boys, and regular Anderson musical trademark in the Rolling Stones. It's a fun, exhilarating soundtrack from Wes Anderson and company.

The album opens with a 15-second track called American Empirical Pictures after Wes Anderson's production company. A simple banjo track with chimes all by Alexandre Desplat as it serves as an intro for the next track. The Wellingtons' The Ballad Of Davy Crockett which is a simple, bouncy folk song led by a banjo and great harmony vocals about Davy Crockett as it serves as a backing track for Mr. Fox's exercise to steal food. Mr. Fox In The Fields is an instrumental piece from Desplat that serves as theme music for Mr. Fox with a flourish of banjos and chimes with a smooth orchestral arrangement. The Beach Boys' Heroes & Villains from Smiley Smile, is an amazing track with bouncy rhythms, Mike Love's wailing vocals, and cosmic lyrics from Van Dyke Parks. Featuring strange arrangements of sounds and a harpsichord solo bridge from Brian Wilson, the song plays as a backing track for Mr. & Mrs. Fox stealing food.

Fooba Wooba John by Burl Ives is a playful, one-minute-and-seven-second song that has Ives singing to bouncy melody with old-sound ragtime jazz as it serves as track that reflects the lives of the Fox family. Boggis, Bunce, and Bean is a score piece by Desplat that features bouncy chimes and smooth-stomping beats as it reveals the personalities of the three villains in the story. Jimmy Squirrel And Co. is a banjo-led instrumental with swooning flutes and chimes as it is a score piece with violin plucks as a contractor reveals to Mr. Fox a brand new home. Love by Nancy Adams is a swooning ballad with melodic guitar chimes as Adams sings the serene song with her angelic vocals. The song is a perfect backing track to the relationship between Mr. & Mrs. Fox. Burl Ives' Buckeye Jim is a mid-tempo folk track led by Ives' baritone vocals as it is simple song that recalls the new home life of the Foxes.

High-Speed French Train is a score piece with bouncy orchestral melodies and woodwinds as it's accompanied by tingling chimes as it serves as a musical cue for Ash's train set that his cousin Kristofferson is amazed by. Whack-Bat Majorette is an upbeat instrumental where Desplat goes into the circus-like world of Nino Rota ala the films of Federico Fellini. Led by a pounding rhythm and a broad brass sound with wailing flutes, it's a killer instrumental that serves as a backing track for the unique sport that is whack-bat. The Grey Goose by Burl Ives is a playful folk track led by Ives' vocals as it has a holiday-like feel as it plays to friendship of Mr. Fox and Kylie. Bean's Secret Cider Cellar is an Ennio Morricone-inspired track with washy acoustic guitars, pounding rhythms, whistles, and Jew-harp twangs. The track serves as a great piece where Mr. Fox and the Rat duel it out for cider. Un Petite Ile by Georges Delerue from Francois Truffaut's Two English Girls, is a serene, chime-like track led by a harpsichord and soothing string arrangements as it reflects on Mrs. Fox's heartbreak that her husband is stealing again.

The Rolling Stones' Street Fighting Man is a rocking track with pounding drum fills, driving guitars, and Mick Jagger's lyrics about revolution. Featuring swirls of sitars, it's a song that serves as great piece where the Fox family and Kylie dig their way underground away from the tractors. Fantastic Mr. Fox aka Petey's Song by Jarvis Cocker that he co-wrote with Wes Anderson and Noah Baumbach is a playful folk track led by a banjo, twanging Jew-harp, foot-stomping rhythms, and Cocker's cool vocals about Mr. Fox and his fantastic thefts as it is great, playful song. Art Tatum's jazzy-piano cover of Cole Porter's Night & Day is a great piece that plays to the feast as Mr. Fox and his friends are celebrating the big theft he and his friends have done. Kristofferson's Theme is a score piece by Desplat that is led by brimming chimes and playful melodies as it marks the arrival of Kristofferson as well as his attempt for he and Ash to steal back Mr. Fox's tail.

Just Another Dead Rat in a Garbage Pail (Behind a Chinese Restaurant) is a continuation of sorts of Bean Secret Cider Cellar with the character of the Rat returning. Led by its Spanish guitar, twanging Jew-harp, and whistle along with a wailing flute, it marks the Rat's attempt to take a ransom until he's confronted by Mrs. Fox and later, Mr. Fox as it's later accompanied by soothing, melodic-laden track with chimes and soothing string arrangements. Le Grand Choral by Georges Delerue from Francois Truffaut's Day for Night, is an orchestral piece with wailing trumpets and sumptuous string arrangements where Mr. Fox and company go on a rescue mission. Great Harrowsford Square is a score piece, with credit to the late Roald Dahl, is a track where Mr. Fox and his team face an unexpected enemy. Led by a slow banjo and pounding timpani fills, it's a haunting track that features a whistle reminiscent of Morricone's film scores. It is then followed by boys singing Dahl's lyrics about the villains of the film with a banjo accompaniment.

Stunt Expo 2004, another score piece with Dahl taking credit, is a continuation of the previous track with slow snare fills and pounding timpani tracks. Featuring a melody of the song about the villains, it's a playful track that mixes Morricone's spaghetti western pieces and sumptuous melodies as the vocals of the boys appear for an adventurous track where Mr. Fox and company escape. Canis Lupus is a short score piece where Mr. Fox meets a wolf in a serene background of wailing, operatic vocals with soothing string arrangements. Ol' Man River by the Beach Boys is a somber piece where the band sing Rodgers/Hammerstein song with just their serene vocals as Mr. Fox and family deal with the aftermath. The closing track is The Bobby Fuller Four's Let Her Dance which is a playful song led by melodic guitar tracks, bouncy rhythms, and fun lyrics about dancing as it serves as a great closing piece for Mr. Fox and friends to dance to.

The soundtrack to Wes Anderson's Fantastic Mr. Fox is a superb and enjoyable album that features a lot of great score pieces and tracks for people of all ages to dance around to. While the only track excluded from the soundtrack is the Beach Boys' I Get Around, its exclusion doesn't affect the flow of the album nor its replay value. While it may not top such other classic Anderson soundtracks for Rushmore or Seu Jorge's The Life Aquatic Studio Sessions. It is certainly up there with those two while being one of the best film soundtracks of the year. For anyone who enjoys the film, the soundtrack to Fantastic Mr. Fox is a must have for anyone that loves great score pieces, nice folk ditties, and killer rock tracks.

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - (Moonrise Kingdom)