Like the film itself, Holmes’ pieces are hip, but still have widespread appeal. Slinky, slightly edgy pieces such as Boobytrapping, and Gritty Shaker are equally inspired by the tense cool of Lalo Schifrin and the street-smart style of Curtis Mayfield and Isaac Hayes’ Superfly and Shaft soundtracks. Aside from a few breakbeats and the odd synth riff, Holmes downplays the overtly electronic element of his music, focusing instead on funky bass lines, vibes, strings, wah-wah guitars, and lively percussion for a sleekly organic sound.
The soundtrack’s additional material complements Holmes’ work, either by contrasting it, in the case of Percy Faith’s so-square-it’s-hip A Song for Young Lovers or reflecting it, as the ultra-hip hip-hop of Handsome Boy Modeling School’s The Projects and Elvis Presley’s sexy, tough-talking A Little Less Conversation do. While it’s not quite as immediate as the Snatch soundtrack or as groundbreaking as the Dust Brothers’ Fight Club score, Ocean’s 11 is a tight, kinetic collection of film music that’s just as enjoyable outside of the movie’s context.