"Family, The" Soundtrack Lyrics

"The Family (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

How do you score a witness-protection mafia comedy that flips from cozy to cruel? The soundtrack splits the job: a tight, noir-tinged score by Evgueni & Sacha Galperine carries the Manzoni family’s paranoia and black humor, while sharp needle-drops (LCD Soundsystem, Tom Tom Club, Gorillaz, Cat Power, M) punch scenes with irony or swagger.

The commercial album (The Family (Original Motion Picture Soundtrack)) arrived September 13, 2013 with 24 cues (~39 minutes), mixing the Galperines’ score, a handful of licensed songs, and a few brief dialogue interludes. Distribution was via Because Music for EuropaCorp. Trusted listings on Apple Music and Spotify match timing and contents; Film Music Reporter announced the package ahead of release.

Questions & Answers

Is there an official soundtrack album?

Yes — The Family (Original Motion Picture Soundtrack), 24 tracks (~39:52), released September 13, 2013 (digital).

Who composed the score?

Evgueni Galperine and Sacha Galperine.

Which Gorillaz songs are used?

“Clint Eastwood” (gangsters arrive; ~01:22) and “To Binge” (end credits; ~01:40).

What song plays during Belle’s classroom seduction?

LCD Soundsystem’s “New York, I Love You but You’re Bringing Me Down” (~01:04).

What’s the barbecue/lunch track everyone notices?

Tom Tom Club’s “Genius of Love” — used at the Manzonis’ welcome-lunch barbecue (not on the album).

Who released the album?

℗ EuropaCorp; distributed by Because Music (digital storefronts list both).

Does the album include dialogue?

Yes — several short “Interlude Dialogue” tracks (e.g., Robert De Niro, Michelle Pfeiffer) are included.

Notes & Trivia

• “Rags to Riches” plays while De Niro’s character watches Goodfellas — a winking meta-gag for the film club scene.
• Trailer music featured Muse’s “Feeling Good”; it’s not necessarily used in-film.
• The album combines score cues with select songs and brief dialogue bites, unusual for a 2010s crime comedy release.
• Several library tracks (X-Ray Dog cuts) bolster montage and fantasy beats.
• International title is Malavita; album title remains The Family on DSPs.

Genres & Themes

Noir strings & pulse → menace under manners. Low brass, tremolo strings, and metronomic percussion underline the family’s “always hunted” state.

Indie melancholy → moral slippage. LCD Soundsystem’s weary ballad frames Belle’s transgressive choice as a lonely, grown-up mistake.

Jukebox pop & 80s dance → ironic hospitality. M’s “Pop Muzik” and Tom Tom Club flip a friendly lunch into a sardonic power move.

Tracks & Scenes

“Doce Doce” — Fred Bongusto
Where it plays: ~00:25, Belle in her room as the family settles. Diegetic.
Why it matters: Vintage Italian pop telegraphs Belle’s romanticism before the film undercuts it.

“Mosh Pit Match” — X-Ray Dog
Where it plays: ~00:19, Belle rides with local boys. Non-diegetic library sting.
Why it matters: Aggro texture to contrast the town’s placid façade.

“The Greatest” — Cat Power
Where it plays: ~00:42, Giovanni and Maggie kiss on the couch. Non-diegetic.
Why it matters: A soft, human pause inside a hard-edged life.

“Pop Muzik” — M
Where it plays: ~00:45, the Manzonis host a lunch to “blend in.” Non-diegetic; later reprises in a Latino Cappuccino version.
Why it matters: Candy-colored irony as a cover for intimidation.

“Genius of Love” — Tom Tom Club
Where it plays: ~00:48, backyard barbecue/welcome lunch. Non-diegetic (album omission).
Why it matters: The cheery groove heightens the gap between social nicety and looming violence.

“Me and My Baby” — Don Cavalli
Where it plays: ~00:57, local Gazette newspapers roll off the press. Non-diegetic.
Why it matters: Local gossip machine turns, and with it the family’s risk.

“Coccinella” — Ghigo
Where it plays: ~00:59, flashback of young Warren laughing at Giovanni’s joke. Non-diegetic.
Why it matters: Old-world charm coloring a criminal father’s nostalgia.

“New York, I Love You but You’re Bringing Me Down” — LCD Soundsystem
Where it plays: ~01:04, Belle seduces her teacher in the classroom. Non-diegetic.
Why it matters: Big-city ache over a small-town boundary—melancholy, not romance.

“After Hours” — X-Ray Dog
Where it plays: ~00:40, Giovanni lists reasons he’s “a good guy.” Non-diegetic.
Why it matters: Darkly comic self-mythmaking with trailer-style heft.

“Reflections” — Stanley Myers
Where it plays: ~01:18, the priest rejects Maggie after confession. Diegetic church source.
Why it matters: Sacred choral sonority sharpened into judgment.

“Rags to Riches” — Tony Bennett
Where it plays: ~01:18, during the Goodfellas screening gag. Source within the film-club setting.
Why it matters: Scorsese callback becomes a De Niro in-joke and a town-hall spectacle.

“Clint Eastwood” — Gorillaz
Where it plays: ~01:22, gangsters exit the train and pass Warren. Non-diegetic.
Why it matters: Loping beat = inevitability; the past has arrived.

“To Binge” — Gorillaz (feat. Little Dragon)
Where it plays: ~01:40, end credits. Non-diegetic.
Why it matters: Cool-down after carnage; bittersweet detachment suits the film’s black-comic tone.

Also heard: “This My Club” — Prophit (Warren’s busy-morning brag); Muse’s “Feeling Good” (marketing/trailer); additional library cues by X-Ray Dog for fantasy and action beats.

Music–Story Links

Public smiles vs. private violence. Upbeat pop (“Pop Muzik,” “Genius of Love”) papers over intimidation; the score’s low-simmer textures reassert who the Manzonis really are.

Longing as bad compass. LCD’s city-sick ballad frames Belle’s worst decision — yearning without wisdom.

Meta-cinema, meta-music. The Goodfellas film-club scene (with Tony Bennett on the track) turns soundtrack into commentary: the movie knows you know the music.

How It Was Made

Score. Evgueni & Sacha Galperine build lean, percussive cues (“Gangster Tango,” “Bad Guys in Town”) around creeping low strings and clock-like pulses. The compact album structure favors punchy, scene-specific cues.

Album assembly. EuropaCorp packaged 24 tracks (score + select songs + dialogue interludes) and distributed digitally via Because Music (Apple/Spotify metadata align). Pre-release details came through Film Music Reporter.

Reception & Quotes

“Curiously airless, weightless and tonally uncertain.” Variety

“There’s little to laugh about in the dark comedy The Family.” The Washington Post

“De Niro… invited to address a French Cinema Society and ends up deconstructing GoodFellas.” The Hollywood Reporter

Critics split on tone; fans often cite the sly Goodfellas gag and the cool-headed song choices. Album availability on DSPs has remained stable since 2013.

Additional Info

• “Genius of Love” appears in-film but is omitted from the official album.
• Several tracks on DSPs are labeled “Interlude Dialogue,” credited to cast members.
• Trailer music leaned on Muse; in-film the rock slot tilts toward Gorillaz and LCD Soundsystem.
• Some placements use production-library music (X-Ray Dog) to sell montage beats quickly.
• Region titles vary (Malavita); the soundtrack album title does not.

Technical Info

• Title: The Family (Original Motion Picture Soundtrack)
• Film/Year: The Family — 2013
• Composers: Evgueni Galperine; Sacha Galperine
• Album details: 24 tracks; ~39:52; released September 13, 2013
• Label / Rights: ℗ EuropaCorp; distributed by Because Music (digital)
• Key licensed songs (in-film): LCD Soundsystem “New York, I Love You…”; Tom Tom Club “Genius of Love”; Gorillaz “Clint Eastwood,” “To Binge”; Cat Power “The Greatest”; M “Pop Muzik”
• Notable meta moment: Tony Bennett’s “Rags to Riches” during the Goodfellas screening gag

Canonical Entities & Relations

Sources: Apple Music; Spotify; Film Music Reporter; WhatSong; Soundtrackradar; Variety; The Hollywood Reporter; The A.V. Club; Wikipedia.

November, 09th 2025