“Both compositions matched the films quite well – a more grounded jazz set for the crime thriller, and then a much more psychedelic suite for the mysterious horror film. And both times, the soundtrack steals the show.”

”Chou’s composition leans heavily on older jazz palettes, with appropriate film noir ambiance during the scenes of criminals scheming and hanging out in alleyways. She also sings an excellent number during the climactic last sequence, with the film playing an excellent accompaniment to her performance of the song.

The composition for the second film, however, stole the show... Chou’s composition plays into that sense of uncertainty, constructing a very ethereal piece of music that the film’s visuals serve as an excellent accompaniment to....The composition matches this, being much more soaring, as well as featuring more singing from Chou herself. It’s a very unique experience, as the audience is left to interpret what the film’s exact plot might have been, while taking in the sweeping compositions. It’s easy to get lost in the experience, with winding saxophone arpeggios timed with the movie that create a sense of magic.”