10 Essential A24 soundtracks

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Our 10 essential series sees VF and friends of VF dive into our favourite labels, artists, genres, and scenes to pick 10 essential albums, EPs or tracks for any collection. 

A24 is a powerhouse of contemporary cinema. The film production and distribution company has become synonymous with thoughtful independent cinema and risk-taking broad releases and, a lot of the time, these films also have great soundtracks.

In light of the release of the soundtrack to the upcoming A24 film I Saw The TV Glow, featuring Florist, Phoebe Bridgers and many more, VF takes a look at some of the best soundtracks from the A24 canon.

Colin Stetson


Canadian-American composer Colin Stetson crafted a haunting score for Ari Aster’s modern horror debut Hereditary through its creeping sense of dread. Reserved and contained until it bursts, Hereditary builds a stomach-churning tension through minimalist, low-end rumbling and climatic piercing textures. Subtle yet deeply effective.

Disasterpeace/Various Artists

Bodies Bodies Bodies

A film as irreverent and Gen Z as Halina Reijn’s 2022 comedy horror Bodies Bodies Bodies had to be matched with a soundtrack that was loud, brash and deeply contemporary. Disasterpeace’s trap and PC music-influenced score is full of blown-out bass and futuristic sounds–an obnoxious companion to the endearingly insufferable characters on screen. On disc 2, bratty pop forerunners Charli XCX, Slayyyter and Shygirl contribute, building a soundtrack that stands up long after the film stops rolling.

Jon Brion

Lady Bird

Responsible for the scores for films including Eternal Sunshine Of The Spotless Mind and I Heart Huckabees, Jon Brion is a master of somewhat whimsical indie soundtracks filled with yearning. His work on Greta Gerwig’s Lady Bird fits that bill perfectly. Composed with a gentle touch, Lady Bird‘s soundtrack is folksy, meandering and deeply poignant–a tender reflection of its lead’s nostalgia-drenched emotional wandering.

Various Artists

Spring Breakers

Regardless of your opinions on the state of popular music in 2012, the soundtrack to Harmony Korine’s Spring Breakers is a succinct time capsule. Primarily commandeered by Cliff Martinez (Drive) and Skrillex, the soundtrack places Martinez’ ambient productions alongside party anthems from Waka Flocka Flame, Meek Mill and the aforementioned Sonny Moore. It’s loud, obscene and addictive, just like Korine’s tale of unfortunate holidaying.

Emile Mosseri


Emile Mosseri’s beautiful, expansive score for the 2021 release Minari is a special one. The composer, also known for his work on Kajillionaire and The Last Black Man in San Francisco, has experienced TikTok virality for “Jacob and the Stone”, one particularly heartbreaking slice from the Minari score, but there is so much more here than a 30-second clip. A twinkling, textured score that is both deeply melancholic and tentatively optimistic, Minari is a stunning work.

Son Lux

Everything Everywhere All At Once

Every bit as chaotic and ambitious as the plot of Everything Everywhere All At Once, Son Lux’s soundtrack is an audacious, exploratory collection of songs. Veering from high-octane, huge-sounding orchestral cuts to intimate piano work, the Everything Everywhere All At Once soundtrack is an all-consuming behemoth of a score that manages to provide grandiosity whilst maintaining a core weirdness. Featuring guest appearances from a motley crew of Randy Newman, Mitski, David Byrne, and Moses Sumney, the Everything Everywhere All At Once soundtrack is a joy to get lost in.

Daniel Lopatin

Uncut Gems

Known primarily for his work as Oneohtrix Point Never, Daniel Lopatin continued to collaborate with the Safdie brothers on the excellent score for the 2019 film Uncut Gems. An expansive flurry of cosmic synthesis, Uncut Gems is built around the Moog One and pays hommage to the score of sci-fi anime classic Akira. Listening to Lopatin’s score is the closest to space travel on demand that we’ve got.

Anna Meredith

Eighth Grade

With a mix of Anna Meredith classics and specially composed songs, Eighth Grade‘s OST is a collection of charmingly awkward angular electronic from the Scottish artist. Uncomfortable and peppy, Meredith’s score effectively captures the co-existing horror and naivety of being a socially overwhelmed teen.

Nicholas Britell


Produced by combining orchestral compositions with the Southern hip-hop chopped and screwed remix technique, Britell’s score for the Best Picture-winning Moonlight is a beautiful marriage between hip-hop and classical. Poignant and aching, Moonlight moves slowly and intentionally, never overwhelming its listener.

Mica Levi

Under The Skin

Under The Skin‘s score, composed by VF artist Mica Levi, is eerie and grinding. Built around often microtonal strings, Under The Skin shudders slowly forward with patient intensity. Offering occasional moments of brevity amongst the dread, Mica Levi’s score is a lesson in creating unease.

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