While he didn't quite fulfil Soderbergh's impossible request to channel John Williams, it nevertheless remains entirely deserving of your attention. Martinez, however, does right by not competing with the gore, opting for a subtly sinister sound. Traffic A throwback of sorts to his rock'n'roll days, Traffic's score hinges upon the guitar work of David Torn, digitally manipulated to suit the film's drug-related subject matter. Gaudy and volatile, it's a refreshing change of pace from his conventional atmospherics. Guaranteed to play in the minds of those in fear of Ebola. Contagion The creativity between Martinez and Soderbergh showed no sign of diminishing on this, their 10th collaboration. The Knick A lesser composer would have tried to match Soderbergh's visceral new television series by going for the jugular. Subsituting computers and instruments for scrap metal and street junk, his down and dirty approach to the score is the perfect fit for the film's portrayal of unethical policework. King of the Hill This Depression-era bildungsroman allowed Martinez to deviate from his usual style, producing the most playful and emotive work of his career. Only God Forgives Nicolas Winding Refn's neo-noir crime thriller brought out the maximalist in Martinez, whose inspiration ran the gamut from vintage Hollywood sounds to traditional Polynesian instrumentation. Martinez does just that, approaching Contagion as though it were a horror flick. Solaris In the sleeve notes for the soundtrack, Soderbergh credits Martinez with helping him tell the story of his critically-acclaimed sci-fi drama. Johnny Jewel, who fronts the transatlantic neo-disco outfit Chromatics, was initially commissioned to work on the score, but was replaced by Martinez at the last minute at the studio's request. The director had first imagined the film with music from The French Connection and Marathon Man, but ultimately went for a more contemporary approach in order to emphasise pace and energy. As meditative as the film itself, pieces are broodingly drawn out, while the music set to its lift-off scene comes from the unlikeliest of instruments: Narc Chosen for its inventiveness, Martinez's compositions for Joe Carnahan's police drama are marked by their experimentalism.