Video game references, gin and tonic and Canada – Scott Pilgrim vs. The World is my kind of movie. But, as you may have guessed, the music is also a huge part of the move for me, and I can’t think of many films with a better musical team, and a more satisfying output. Nigel Godrich (the fucking Radiohead producer, no less) executive produced the OST as well as wrote the score, there are tracks from Broken Social Scene, Metric and Frank Black and freaking Beck wrote the songs for Scott’s band, Sex Bob-omb.

It’s the final point that makes this soundtrack so good, as it spans the line between a ‘jukebox’ soundtrack and a traditional score. These are songs written specifically to fit the movie’s style and mood, but crafted by an established ‘alternative’ artist and played by the cast. It’s a trick that very few movies could pull off without become ridiculous parodies of themselves, but these songs, and the band itself, are pitched absolutely perfectly – youthful, energetic and possibly lacking in talent.

Of course, none of this would matter if Sex Bob-omb weren’t any good, but something tells me that if they were a real band, I’d have a soft spot for them. These are short, sharp shocks of songs, bass-heavy (that being Scott’s instrument, of course) and complemented perfectly by Beck’s ludicrous lyrics. They’re well placed between more esoteric (and genuine) punk cuts like Black Lips’ ‘O Katrina!’ and Blood Red Shoes’ ‘It’s Getting Boring By The Sea’ on the OST and whilst they might all sound the same, well, hey, that’s sort of the point.

This has been a good year for film music, what with Kick Ass‘ shot in the arm for jukebox soundtracks hitting early and the Devil’s own vuvuzelas blasting their way through Inception, but I think Pilgrim takes the top prize so far – it’s genuinely one of the most enjoyable soundtracks (and, whisper it, maybe even general albums) of the year.

Sex Bob-omb – Threshold (YSI)