The original soundtrack of Drive is a perfect example of great music elevating the quality of a film. In following the minimalist tones of Nicolas Winding Refn’s movie, composer Cliff Martinez and the handful of artists who also contributed to the soundtrack have laid out tracks that achieve perfection through simplicity. It almost distracts the viewer from what is also one of the year’s best films.

There is a distinctly 80s vibe here; music heavily laced with synthesised sounds possessing an inescapably modern finish.

The opening track, Nightcall by Kavinsky and Lovefoxx, sets the tone for the entire album as it plays over the opening credits. Immediately the listener is transported to a laid-back state of mind. And those slow beats continue seamlessly into Under your spell, by a band called Desire. In my opinion, this is easily the best song in the album. It’s a mellowed out love song that will linger in your head well past the tracks that follow.

Nowhere does the 80s theme become more apparent than in Real hero, which features a band called Electric Youth. If you grew up in that decade, you’ll recognise the band name as a song by Debbie Gibson. While that reference may seem cheesy, that certainly isn’t the personality of the song, which is performed by a group called College. Real hero is a song that inspires an inexplicable nostalgia. Not that there’s anything wrong with cheesy (especially when you’re talking about the 80s).

Oh my love is the one track that doesn’t fit into any era of popular music. It’s a hauntingly sad song, almost operatic in composition, replete with an orchestra and vocals, which journey through a soft sound before peaking.

This is where songs by artistes end, and the compositions of Cliff Martinez begin.

Martinez has a long history with film soundtracks, which incidentally does date back to the 80s with Sex, lies and videotape. Other films include The limey, Pump up the volume, and Wonderland, not to mention the fact that Martinez drummed for the Red Hot Chili Peppers (who’s album I’m with you I reviewed a couple of months back), along with other acts like Captain Beefheart.

The resume is an impressive one, much like the original songs he lays down for the Drive soundtrack. As mentioned before, Martinez sticks with the minimalist tones set by film itself, yet somehow manages to be distracting at times. Personally, I don’t mind being a little distracted when the reason is a great soundtrack, and this is definitely such a case.

Like the artists which precede his score on the album, the composer borrows heavily from 80s sound and delivers music that runs the gamut of rocking, haunting, and grooving, with an arc that fits the film perfectly. Even without the visual accompaniment of the film, Martinez’s songs brilliantly deliver the emotional journey the viewer would take through the course of a viewing.

The names are straightforward, I drive, See you in four, Hammer; they correspond to the scene which each song has been composed for. While the film definitely takes a sharp turn, going from minimalist to graphic, the music’s subtlety is never lost. The arc is consistent, and that is truly impressive.

From hippy rock to funk rock to minimalist film scores, Martinez over the years has proven that not only is his range diverse and extensive, but in the attention to detail observed throughout the Drive soundtrack, he has also proven himself to be a truly gifted composer. He must love what he does a great deal to produce such great music.

Asad Khawaja hosts Moonlight Mile Thursdays 10pm to 12 midnight on CityFM89