{"id":145432,"date":"2025-09-18T16:37:24","date_gmt":"2025-09-18T20:37:24","guid":{"rendered":"https:\/\/panm360.com\/?post_type=records&p=145432"},"modified":"2025-09-18T16:40:48","modified_gmt":"2025-09-18T20:40:48","slug":"idles-caught-stealing-the-original-motion-picture-soundtrack","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/idles-caught-stealing-the-original-motion-picture-soundtrack\/","title":{"rendered":"IDLES – Caught Stealing (The Original Motion Picture Soundtrack)"},"content":{"rendered":"\n

It was only a matter of time before Bristol post-punks IDLES, took the reins on a movie soundtrack. Since the new wave-y CRAWLER <\/em>album in 2021, I’ll say IDLES have been getting more “cinematic,” opting for full synth-led songs as opposed to the filthy, colossal post-punk guitar tracks. Personally, I’m in the latter camp and will always view 2017’s BRUTALISM <\/em>as their best album, but the mainstream appeal of IDLES has exploded this once working-class punk band into a well-known juggernaut in the music world. <\/p>\n\n\n\n

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So here we are, Darren Aronofsky has a new movie called Caught Stealing<\/em>, and IDLES have made the soundtrack. Some soundtracks stand the test of time, being so intrinsically linked to a film scene that you can’t separate them, like Hans Zimmer’s Interstellar<\/em>, and some stand alone as amazing pieces of music; Vangelis’ Blade Runner: Original Motion Picture Soundtrack<\/em>, for example or basically any score work Jonny Greenwood does. <\/p>\n\n\n\n

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I haven’t seen this movie yet, so I can’t speak to the link between scenes, but I’ll say on the first initial listens it’s … fine. All of these songs are about the build, some cool bass riffs and siren-type guitar on “Kim’s Video,” and atmospheric synths on “Walk\/Don’t Walk,” like most of IDLES’ music, but we never really get a truly explosive moment, save for “Cheerleader,” so they all kind of fall flat, unmemorable. Joe Talbot flexes his bravado on a few tracks, but many of the lyrics feel cookie-cutter and off the cuff, a bit phoned in. Maybe that was the intention, but it just feels like half baked TANGK<\/em> tracks in my humble opinion. I’m also just sick of Talbot scremaing “whooooo,” whenever he is striving to get a word in. The good, unharnessed Talbot comes from “Police & Thieves,” which is way more of a crooner. “Coper,” might be the best track with its grimy, esoteric trip hop vibe, and a bringing a newer type of IDLES. “Flushing, Queens,” also has a great crime wave sound that makes me want to see the film, but yeah fully this soundtrack is pretty OK.<\/p>\n\n\n\n

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