So each week, all these featured-release writeups get written on Sunday. The only reason this is worth mentioning here, in this review of Yo La Tengo's new self-released soundtrack collection, is that I can't think of a better time of said week to listen to these scores. From Ira Kaplan's VU's-a-Dead Man guitar reverberations to classic-if-expected full-band garage jams to brushes with jazz and classical orchestration, downtempo drum-machinery and even an awesome outright Neu! nod on Will Oldham vehicle Old Joy's end credits, with no apologies to the Q, this is my kind of Psychedelic Psunday.

Much as in the films of Wes Anderson, pop music plays a key acting role in the success of Juno, a lovingly quirky tale of generational clashes brought on by a pregnant teen and the yuppie couple who wish to adopt her baby. The songs on this soundtrack are a split between classics by the Kinks, Mott The Hoople and the Velvet Underground, and solo tunes by Kimya Dawson, ex- of the twee NYC band Moldy Peaches. Dawson's tunes prize off-key sincerity and winking wit over fidelity, but while her songs pale a little next to two by Belle and Sebastian, they represent Ellen Page's character with an innocent accuracy.

From the moment Jonny Greenwood's sublime string arrangements for Kid A's "How To Disappear Completely" hit your ears, you got the sense he was made for this type of work. And he couldn't have chosen a better film for his string work than the latest by auteur Paul Thomas Anderson. Anderson's evocative, epic way with a camera, equally tender and bombastic, is a perfect fit. Well, mission accomplished. There Will Be Blood is a superb collection of mostly piano and string arrangements that sit just as comfortably next to Gorecki and Golijov compositions as they do Kid A.

Whether too close to the bone or unnecessarily eccentric, tribute albums usually just serve to remind you how much you'd rather listen to the originals. So go figure that this Dylan covers fest is great: varied, passionate, and remarkably consistent. Cat Power's take on "Stuck Inside of Mobile..." provides the jolt of energy her 2006 disc The Greatest sadly lacked, while Willie Nelson sheds light on one of Bob's better unsung tunes, "Senor" off 1978's Street Legal. From Yo La Tengo to Richie Havens, Karen O to Roger McGuinn, the roster is as eclectic as the man himself. Far more daring than the recent redundant Dylan hits pack.

What better way to celebrate Halloween than with some Joy Division. On the eve of this holiday comes both the soundtrack to Anton Corbijn's new film, Control, and a trio of collector's edition reissues. Unknown Pleasures and Closer, the two proper studio albums by the band, remain iconic touchstones of an at-the-time unheard of style of bleak, cutting songcraft. The half studio/half live Still is a slightly more uneven listen, but still contains stellar highlights, including "Dead Souls" and an early live version of "Ceremony", which became New Order's first single. As for the bonus material, each edition comes with a complete live set. The live sound quality is erratic and primitive, but it suits the band's twitchy, acidic performances perfectly, especially that of their darkly charismatic singer, Ian Curtis. Curtis himself is the main focus of Corbijn's Control, and the soundtrack sets the mood well. This collection won't provide much in the way of surprises for diehards (and some of the surprises, like the Killers' cover of "Shadowplay", may not be seen as a wise idea by all), but the cast themselves do a bang up job on "Transmission" and the rest of the soundtrack is a solid catalogue of influences and pivotal Joy Division/New Order tunes.

Film director Wes Anderson is almost as loved for his meticulously curated soundtracks as his idiosyncratic movies. From the mod explosion of Rushmore to the Portugeuse revisions of Bowie classics on The Life Aquatic, the man has some seriously eclectic, well-honed tastes. The Darjeeling Limited keeps his streak alive, matching cuts from Anderson faves The Kinks and Rolling Stones with theme music from a slew of Bollywood classics. The midsection is dominated by Indian themes, then bookended by Western music (both rock and classical), making things a touch segregated, but still fascinating and fun.