I’ve enjoyed the output of Made by Mutant, in all their forms, for some time now so I’m delighted to share and endorse an assortment of their record releases, right in time for the holiday season, with some sincerely presented exquisiteness – as you’ll see below!

Mutant offer an eclectic collection of vinyl, and while I’ll be focusing on the records from long-term favourite Michael Giacchino and his Exotic Themes for the Silver Screen – (Volume One), there’s also the score/soundtrack for Alien Romulus, Dune: Part Two and Lisa Frankenstein. Even if one of these isn’t your taste, head over to their site as they’ve collated a wealth of goodness for the likes of Late Night with the Devil, American Fiction, Blue Velvet, Top Gun, Longlegs, Twisters, and The Bikeriders, to name just a selection.
Benjamin Wallfisch’s Alien: Romulus
First up is Benjamin Wallfisch’s score for Alien: Romulus, produced in partnership with Hollywood Records and 20th Century Studios, and this is the first physical release, and they’ve cooperatively made it a refined one.
With a perfect blend of red and black scene captured for the cover and inner sleeve, which folds-out for this 2LP release, artist Kilian Eng returns to provide his stellar skills for another record from the Alien franchise, and it sits right. Depicting the balance of the dark, shadowy world that creeks and festers so well in Alvarez’s vision, it also picks out the red glow of the home-grown alien embryo, a nice little suggestion of what’s to come.
This Limited-Edition release also has an extra sheet featuring liner notes from the director, Fede Álvarez, which praises and thanks his collaborator, and is always good to read. The two-record set is as 140g and keeps that black and red theme going – and they look mighty as you’ll see in the gallery! And, although I prefer my records in a plastic/paper sleeve combo, these come in the inner soft plastic-like cover but works and makes it a lot less likely to be scratched.

Wallfisch’s score is the main focus here and he’s hit that sensation in all the right ways. While Jerry Goldsmith’s Alien score set the tone forever more, and quite right to, if you’re a fan of the original world, then you’ll very much appreciate the detail of what’s been composed – with subtle interpolation not only from Goldsmith’s previous work but also Harry Gregson-Williams, as well as a shot of James Horner
His score equally conveys the cacophony of fear that lingers in the darkness, with that fine balance of pace and soundscape to heighten – and enhance – each scene the compositions accompany. It also builds on what has come before and, importantly, lends another level of skill to Wallfisch’s catalogue of excellent work, and will soon be with there with the current greats – and I don’t think that’s an overstatement – as his own little motifs come through, for this brilliant film score for Alien: Romulus.
Purchase yours: madebymutant.com/Benjamin Wallfisch Alien: Romulus
Hans Zimmer’s Dune: Part Two
There’s little doubt of the vast scale of Denis Villeneuve’s Dune, both Part One and Two, but for all the mighty visuals, it actually might not be quite the beast it is without the right film score to accompany those undeniably astonishing visuals but who is there would could do such an incredible job? Oh yes, and never doubted, it’s the masterful Hans Zimmer with this phenomenal score for Dune: Part Two – and this is a beautiful set from Made by Mutant, in partnership with WaterTower Music.
First up, I love an outside slipcase that strengthens these types of delicious releases, and so it’s very pleasing to open this one that comes with a rigid plastic outer slipcase, with its own splash of artwork from illustrator Greg Ruth. Initially it reveals Timothee Chalamet as Paul Atreides, in his hood complete with filt-plug, and on the reverse of this quadruple fold-out gatefold sleeve is fan favourite Muad-Dib – i.e. that tiny kangaroo mouse that everyone adores (and did you know that’s a baby red squirrel noise that it makes? Head here with the excellent Dani Connor).





This then opens up to striking portraits of Zendaya’s Chani, and Austin Butler’s Feyd-Rautha, before getting even bigger – emulating the film here – with a four-fold-sleeve of the almighty sandworm in full attack action, it’s an epic image! Within the sleeves, you’ve then got two 140g records, one of a sandy-like variety and the other blacker, yet both are of the swirling sand style which looks really impressive. The other extra here is more character artwork across what’s inside, and an excerpt from a conversation between Hans and Denis, which delves into the cultural worlds of the characters that Hans investigated, and actually knew in many ways, and his creation of new instruments and ideas to make those sounds that fitted the score, which is epic in itself.
And I’m never forgetting the majestic, sweeping, and soaring score that certainly enhances and compliments those enormous visuals from Villeneuve. It could be easy to underestimate the level that Zimmer continues to craft in his compositions, from tender love themes to those bold and brash battle creations that pull you deep inside the world, the way it’s intended. And what makes this Motion Picture Soundtrack even more special is that level of intensity and intrigue, that means you’re almost literally stepping onto the sand with an imagination unbound, full of excitement. Whether you’re a fully converted Dunatic, or even just a fan of epic film scores, there’s little doubt this worth revering.
Purchase here: madebymutant.com/Hans Zimmer Dune-P2
Isabella Summer’s Lisa Frankenstein
And now a fun one, with Isabella Summer’s music for Diablo Cody and Zelda Williams’ excellently mad but earnest Lisa Frankenstein, a film that defies and celebrates the strange and unusual, blending a little Tim Burton but with a fresh new take on a beautifully bonkers story, and this motion picture soundtrack release is in partnership with Back Lot Music and Focus Features.
While I appreciate, we’ve just stepped out of Halloween-season, for some of us these movies and film scores are worth visiting at whatever time of year takes your fancy. This horror-comedy is both bizarre and sharp, with Kathryn Newton and Cole Sprouse giving fine performances.


The soundtrack itself is a sonic celebration of the style it sets itself within, including the likes of Pixies, Galaxie 500, Jeffrey Osborne, and The Zombies, alongside a couple of modern covers from Elise McQueen (with Summers) and Jojo to link it all together. And amongst all this is the triptych of synth, strings, and piano keys, that feeds us a monstrously impressive mix of music that just fits the moment really, in all the right entertaining ways.
To make it extra excellent Mutant have also give us a 140g glow in the dark splatter vinyl, so basically any excuse to play it particularly in the darker months, and so the colour schemes just line up effortlessly. And, one of the best parts of a physical release that those who haven’t started their collection haven’t learned about yet, is the artwork from Allison Reimond, plus photography from the film, as well as epic (and exclusive) liner notes from Cody, who talks about the creation of the characters which may have come from a heavier time, when she was lost in-between worlds in real-life, but she ended up creating what has to be a cult favourite as time moves on, and life is rebuilt bit by bit to something better, and totally worth investing in.
Purchase here: madebymutant.com/Isabella-Summers-LF OMPS
Michael Giacchino’s Exotic Themes for the Silver Screen – Volume One
And now… we’ve reached the temporary end (not quite as catchy as My Way) but it’s a new venture from one of my absolute favourite film music composers, Michael Giacchino, and it takes us through the likes of Alias, Lost, Ratatouille, Cloverfield, Star Trek, Speed Racer, Mission: Impossible – Ghost Protocol, Super 8 and – of course, UP, but in a way you’ve not heard them before, with Exotic Themes for the Silver Screen – Volume One!
If you’re not sure what that means, let me explain, as this is a large selection of his iconic scores but reworked into the retro lounge style of 1950s Exotica, in which Michael returned to the studio to rearrange and re-record all this major musical moments in his career, for give them an additional life and – with it – produce an album that celebrates vibraphones and marimbas, where strings and thundering drums once existed – and it works!
Inspired by the easy listening style of Martin Denny and Les Baxter, whose 1957 album inspired the creation of a new genre, this collection really does take you away to somewhere warmer, which isn’t a bad thing when you need a hit of sun if you’re in a colder country – or even if you just need the lift! Spencer Hickman, Co-Founder of Mutant, says it best by saying these compositions “…transport you to a far-off sunset, looking out at the ocean, complete with a cocktail in hand, providing a much-needed escape from the stress of modern times…” and I agree!

These versions reinvent what’s seemingly set in stone but take his work to a new place, and that’s quite a unique switch. If you know Giacchino, then you’ll know melody is all-important, and here he has stripped down the symphonies to their essential elements while retaining that emotional core that somehow compliments his own work, the genre itself and a welcome reminder of the scale of his work, in some huge moments of video games, TV and film over the years. Life and Death, from Lost, is such a moment and this version certainly puts a whole new lean on the moment – with a cocktail but with the heart – and also check out Roar! (inspired!), Le Festin (into Ratatouille is a delight), Primordial Forest, the Super 8 Suite and Enterprising Young Men. It’s a fun reinvention and you’ll love it even more when the little motifs drift in.
And finally, there’s the easy vibe sunrise and palm tree sleeve design from Luke Insect, liner notes from Charlie Bridgen, via an interview with Michael, and a promise there will be more of this in the near future!




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