Dystopian movies come in all shapes and sizes, but 28 Days Later stands out as one of the finest thanks to a perfectly conceivable story which doesn't overcomplicate itself. The solid narrative, matched with a soundtrack pairing credible ambient music with iconic original compositions, makes for a winning combination.

28 Days Later was the second collaboration between director Danny Boyle and writer Alex Garland (of Ex Machina fame) following 2000's The Beach. The film was to be the first time composer John Murphy was to work with Danny Boyle following his impressive work on Guy Ritchie's Lock, Stock and Two Smoking Barrels and Snatch. While Murphy's previous work had used a lot of existing music, 28 Days Later saw him spread his wings and contribute more original pieces - a gamble which paid off in spades.

28 Days Later is best categorised into three distinct musical areas: those in the countryside, those in evacuated London, and those in chaotic, zombie-filled scenes.

The natural scenes are soundtracked by Eno-inspired gentle, ethereal, atmospheric synths which culminate with an Eno track itself as the group of four uninfected Londoners travel up a deserted motorway and through the countryside. Fittingly, for a Northern-based solution to the zombie problem, the Eno song featured is titled 'An Ending (Ascent)' from his Apollo: Atmospheres and Soundtracks album.

The music for these natural scenes reflect the calmness of the countrysides as opposed to the more frenetic guitar based music which soundtracks the scenes in London. Even when the soldiers march Sergeant Farrell and Jim into the woods to be executed, the music is still atmospheric, instead of churning drums and distorted guitars.

28 Days Later features one of my personal favourite movie settings - the supermarket. Zombie led films and supermarkets go hand in hand thanks to the unnatural combination of a typically busy atmosphere with strict conventions (paying for food, queuing etiquette) juxtaposed with the chaotic, lurching, bloodthirsty zombies (who don't queue). Grandaddy's 'A.M. 180' provides the background music to this scene with an intro reminiscent of '80s Americana, easy listening shopping music. Strangely for a film with zombies around every corner, none pop up in the supermarket as the band of four play a dystopian game of supermarket sweep. The song might also seem familiar to some as it's also the theme music to BBC Four programme, Charlie Brooker's Screenwipe.

The rest of the London scenes in 28 Days Later are scored in a formulaic way - beginning with a single electric guitar melody and introducing drums and strings as the action on screen rises. Godspeed You! Black Emperor's 'East Hastings' was not featured on the official soundtrack due to a rights dispute but the film's score relies heavily on their composition style.

The most recognisable piece of music from 28 Days Later is 'In The House, In a Heartbeat'. The track's title references the line from Selena when, after killing Mark in Jim's parent's home, she states that she'd kill Jim, "In a heartbeat".

The main riff and the outro riff return for key moments throughout the film, such as when Jim looks up through the branches of the trees in the forest and sees the aeroplane flying overhead. This revelation shows humanity is still in existence after the chaos of the zombie infection in the same way the gentle epilogue of 'In The House, In a Heartbeat' comes after the chaotic crescendo. Clever.

Considering the track was used to soundtrack a man's head being bludgeoned against a wall before his eyes get gouged out, it's interesting to see the piece of music be repurposed since 28 Days Later. The pounding drums, crunchy guitar and frenetic strings create a piece of music which lends itself well to anything 'epic'. So far 'In a House, In a Heartbeat' has been used in advertising campaigns for Louis Vuitton (L'Invitation Au Voyage) and Strongbow (Pear cider) it's also featured in scores for Murphy's films Kick Ass and 28 Weeks Later. If that wasn't enough, it's also popped up in Top Gear and The Apprentice. Murphy has certainly got his money's worth with this one.