Oh, What a Play! What a Lovely Play!

My praise for Mad Max: Fury Road was generally more muted than that of the average viewer. But the musical score was one aspect of the film that I loved without reservation. It was composed by Tom Holkenborg (under his stage name, Junkie XL), an electronica/techno artist who has increasingly moved into the feature film business over the last decade.

As the movie goes all-out in its lavish visuals, the music is gonzo in its assault on the speakers. Not many film scores serve up as much booming bass as this one; one of the few that comes to mind is Hans Zimmer's Man of Steel, which it turns out Junkie XL collaborated on. That powerful sonic palette feels a far better fit for Fury Road, motivated by the high-octane action.

This is one film where even someone who doesn't pay attention to scores is likely to notice the music, thanks to the on-screen representation of the Doof Warrior (the guy with the flame-throwing guitar) and his wheeled wall of taiko-pounding War Boys. Percussion is relentless in most tracks on the Fury Road album, though not monotonous. "Blood Bag" is a great example where things are mixed up, featuring both steady pulses and machine-gun blasts.

Yet other sections of the orchestra don't give up the spotlight without a fight. Low strings often punctuate the action with ominous blasts (most notably in the opening "Survive" and the later track "The Rig"). High strings stab at each note, in patterns that seem to wither and melt down the scale ("Escape," "The Bog"). Brass instruments howl and groan ("Claw Trucks").

Most tracks on the album barely let you catch your breath, which makes the handful of quieter moments stand out. "Immortan's Citadel" is a lengthy track that establishes the Caligula-like environment of that character with a slinky melody over surprisingly somber strings. (When the drums erupt at the 6-minute mark, it makes for a militaristic declaration of might.) "We Are Not Things" is an emotional track scored only with strings. "Many Mothers" is a mournful descent, with piano phrases that briefly evoke Michael Giacchino's music from the TV series Lost.

Some minor variations are used sparingly, to clever effect. Odd stings in "Escape" represent Max's hallucinations, like recorded blasts played at high speed or in reverse. A strange brushed percussion noise in "Water" -- like static or the hiss on a bad tape recording -- stretches discomfort to the breaking point. Instruments that intentionally sound processed don't appear until well into the score: the electronic glitches of "Brothers in Arms," and the growling bass in "Chapter Doof." Yet for all this apocalyptic showmanship, the score ends in a triumphant place, with the hopeful "My Name Is Max" and soaring "Let Them Up."

Before I'd even left the theater, Mad Max: Fury Road was a "must have" soundtrack for my collection. If you're a film music junkie, you too should make room for some Junkie XL. I give the album an A-.