ABKCO Record Store Day Vinyl Releases Include Classic Titles From Sam Cooke and The Animals + Videogame Soundtrack for Scott Pilgrim vs. The World Eric Burdon In-Store Set for Miami
POSTED ON Mar 20th, 2014
ABKCO Films Brings Alejandro Jodorowsky and The Dance of Reality to MoMA on March 14th
POSTED ON Mar 12th, 2014
SXSW Holds US Premiere of Alejandro Jodorowsky's The Dance of Reality on March 10
POSTED ON Mar 7th, 2014
Wes Anderson's The Grand Budapest Hotel Soundtrack In Stores Now
POSTED ON Mar 3rd, 2014
Stream Wes Anderson's The Grand Budapest Hotel Soundtrack on Pitchfork Advance
POSTED ON Feb 25th, 2014
ALEJANDRO JODOROWSKY’S THE DANCE OF REALITY COMING SOON FROM ABKCO FILMS
POSTED ON Jan 31st, 2014
The Rolling Stones Charlie is my Darling - Ireland 1965 Takes Home GRAMMY For Best Historical Album
POSTED ON Jan 28th, 2014
WES ANDERSON'S 'THE GRAND BUDAPEST HOTEL' SOUNDTRACK OUT MARCH 4
POSTED ON Jan 23rd, 2014
GRAMMY® Nomination Spurs Release Of The Rolling Stones Live 1965: Music From Charlie Is My Darling This Month From ABKCO Records
POSTED ON Jan 15th, 2014
Jodorowsky Marathon To Be Featured In Hungarian Film Festival
POSTED ON Dec 18th, 2013
2 ABKCO Titles Make The Playlist's Best Soundtracks Of 2013
POSTED ON Dec 12th, 2013
CELEBRATING THE 45th ANNIVERSARY OF THE ROLLING STONES’ BEGGARS BANQUET
POSTED ON Dec 6th, 2013
ABKCO Gets Into The Holiday Spirit With 12 Days Of Giveaways!
POSTED ON Dec 5th, 2013
|2 ABKCO Titles Make The Playlist's Best Soundtracks Of 2013
Posted on Dec 12th, 2013
2 ABKCO titles, the soundtracks to The World's End and Frances Ha made The Playlist's list of "Best Soundtrack of 2013!" Here's what they had to say about the two amazing collections:
11. "The World's End"
A large part of what "The World's End" is about the idea of trying to recapture your youth (along with alcoholism and murderous robots from another galaxy), even if it almost kills you. This is perfectly captured in the film's soundtrack, comprised largely of incredibly specific, incredibly Britpop song from the '80s and early '90s (Pulp, Blur, Suede, Teenage Fanclub, The Stone Roses, et al.). Director Edgar Wright has always been pretty on point about the songs that he chooses for his films, but here he tackled the task with a tremendous sense of focus and intelligence. Sometimes the songs are thematically primed, like Primal Scream's "Loaded," which opens the movie in rousing fashion, and other times they work more as a gag than anything else (like Kylie Minogue's "Step Back In Time," a song we had kind of forgotten was so catchy-good). But no matter how Wright is utilizing the tracks, either to convey a story point or underline the movie's knottier existential concerns, they're all connected to such a concrete period of time that you can't help but think about where the characters came from and how their formative years have influenced who they are today. In "The World's End," nostalgia gets turned into a puddle of inky blue goo and as far as mix tapes for the apocalypse go, you could do a lot worse than this soundtrack.
2. "Frances Ha"
Let's be honest, if "Frances Ha" was made by some twentysomething filmschool hotshot, it'd likely be soundtracked by a host of Pitchfork favorites—it's not all that difficult to imagine the same story set to Vampire Weekend and Grizzly Bear. But while co-writer/star Greta Gerwig might be only just into her 30s, Noah Baumbach has a little more distance, and the film ends up with some rather more unexpected musical choices. The film features classic cuts from legends like Paul McCartney ("Blue Sway," a track we'd forgotten how much we liked until it popped up here), Harry Nilsson ("Mrs Butter's Lament") and T.Rex ("Chrome Sitar"), not to mention the exhilarating, Leos Carax-nodding use of David Bowie's "Modern Love." But then there's the unexpected, and hugely effective disco-soul of Hot Chocolate's "Everyone's A Winner," a brace of classical pieces from Mozart, Bach and Jaubert, and a number of lifts from the scores of Truffaut favorite Georges Delerue (nodding to one of the film's major influences). The closest thing to a contemporary cut is a late number by South African electronica artist Felix Laband, but even that feels like it could have come from any point in the last fifty years. As a result, Baumbach makes a film that could have dated instantly, into something that 27-year-olds will be identifying with a century from now.