Soundtrack music has always held its own odd space in the music world. Living in constant relation to the images it is meant to accompany, soundtrack music can (and has) made movies as well as destroyed them, as any Ennio Morricone fan can attest to. Yet the best soundtrack music has always been able to positively shape a film while still standing on its own as strictly a musical work removed from its image-based companion. It is, it seems, this trait alone that separates the comparatively schlocky Hollywood mood-manipulations of a John Williams score from the intrinsic depth and subtlety of form found in an Anton Karas, Carl Stalling, Nino Rota, or Bernard Hermann piece. JG Thirlwell (most know him as the man behind Foetus, Wiseblood, Steroid Maximus, etc.) proves himself more than an adept contributor to the genre.