The era-defining There Will Be Blood is a perfect storm of a film. With superb direction from Paul Thomas Anderson, a masterful Oscar-winning performance from Daniel Day-Lewis, and an unnervingly brilliant debut score from Radiohead's Jonny Greenwood, TWBB can easily be seen as one of the decade's finest cinematic achievements.

The film charts the rise and fall of Daniel Plainview - an oil man. Encompassing all of the filth and greed of the early days of American capitalism - TWBB is an epic and brutal study of one man's descent into sheer fury-fuelled madness. It took a talented actor and director to bring Plainview to life in such a disturbing manner and it took an equally talented musician to evoke the emotions of a man who stops at nothing in his pursuit of black gold and the power it brings. It was always going to be a magic pairing when you take one of cinema's most unique directors and pair him with the one of the main creative minds from the world's most critically acclaimed band.

Greenwood was controversially not given an Academy Award nomination for his score as the committee said his work was ineligible because it brought together excerpts from his own music along with Brahms and Pärt's compositions. Quite where this precedent will leave a generation of bedroom sampling future composers, no one can say, but Anderson didn't care as he enlisted Greenwood's skills for The Master and Inherent Vice, revealing his true thoughts in a Guardian interview: "Oh, the fix was in, wasn't it? They just couldn't stand the idea of a guy in a rock band with moppy hair being that good, I suppose. But hey, no sour grapes."

The soundtrack alone was brought back to life with performances at the Roundhouse soundtracking the movie in 2014, and the Royal Festival Hall last year where The 405 had a behind the scenes look. All in all, the OST comes in at a tight 33 minutes with parts of the official score being lifted from Greenwood's work on Bodysong and his BBC-commissioned piece from 200, 'Popcorn Superhet Receiver'.

The abrasive opening 15 minutes contain no dialogue whatsoever, much like the opening to 2001: A Space Odyssey. Kubrick's composers are a clear influence on Greenwood's harsh music - Penderecki and Lygeti's influence can be heard in the jarring strings and orchestral tension. According to an interview with Entertainment Weekly, Greenwood and Anderson discussed Kubrick's films and their use of contemporary instrumentation:

"We talked about how The Shining had lots of Penderecki in it. We figured the instruments should be contemporary to the turn of the last century, but not period music. Even though you know the sounds you're hearing are coming from very old technology, you can do things with the classical orchestra that unsettle you, that are slightly wrong, that have some kind of slightly sinister undercurrent."

TWBB's music expertly channels the descent into madness in the same way The Shining follows Jack's mental deterioration. Through piano, unique percussion and his Radiohead-favoured instrument, the Ondes-Martenot, Greenwood pays homage, while also creating an original score that can go down as one of the all-time greats. Power has never sounded so frenzied.