"Point Break" Soundtrack Lyrics

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“Point Break (Original Motion Picture Soundtrack)” – Album Guide to Tracks and Key Scenes

Overview

What does ecstasy-of-extreme-sports sound like when you bolt it to a heist movie? Point Break (2015) answers with a split personality: Tom Holkenborg’s pressure-pumped score on one side, and a club-leaning, festival-friendly songs set on the other. The album leans into momentum — drops, kicks, and synth ostinati — to sell Utah’s jump-from-anything ethos.

This remake’s story follows FBI trainee Johnny Utah—the ex–viral extreme athlete who infiltrates Bodhi’s nature-worshipping crew. Songs provide scene texture (Aoki, SG Lewis, The Avener), while the score’s low-end muscle binds set pieces from surf monsters to wingsuit lines. As per the film’s credits and industry listings, Holkenborg (aka Junkie XL) wrote the original score, with music supervision by Deva Anderson.

Distinctive here is how the soundtrack mirrors the “Ozaki 8” ordeal list: source cues spike the ritual/party moments; score handles the ordeal. Result: a playlist that feels like a Red Bull edit one minute and a blunt-force thriller the next.

Genres & themes in phases. Big-room EDM & pop-electronic — tribe, hype, spectacle. Alt/indie and electro-pop — flirt, pause, breath. Hybrid electronic score — threat calculus, awe, consequence.

How It Was Made

Composer: Tom Holkenborg (Junkie XL) boarded the film early in 2015, designing a percussive, synth-forward palette to track Utah’s ordeals and Bodhi’s “give yourself to nature” creed (as reported contemporaneously). His cues (e.g., “Paris Fight Club,” “Plane Heist,” “Bodhi’s Final Wave”) exist widely in promo/playlist form; officially, one original cue — “Point Break End Credits” — appears on the commercial soundtrack.

Compilation album: The various-artists set Point Break (Original Motion Picture Soundtrack) dropped December 4, 2015 — led by Andrew Watt’s “Runaway,” Genevieve’s “Take Me Down,” SG Lewis’s “Warm,” The Avener’s “Fade Out Lines (Rework),” Steve Aoki & Headhunterz’s “The Power of Now,” and more. According to the album listing, it’s a 13-track compilation from Alcon Sleeping Giant (ASG) under exclusive license to Sleeping Giant Media.

Supervision: Deva Anderson’s team stitched club and festival cuts to globe-trotting locations — yacht parties to Paris warehouse fights — while the score handled the physics of the stunts.

Tracks & Scenes

“Runaway” — Andrew Watt
Where it plays: 00:01 — opening dirt-bike ridge run with Utah and Jeff. The chorus slams right as the jump goes wrong.
Why it matters: Hype-tragic prologue; the movie declares adrenaline and consequence in the first minutes.

“Gold on the Ceiling” — The Black Keys
Where it plays: ~00:16 — Utah chases a French mega-tube; cutaways favor shoulders-over-board POV.
Why it matters: Classic blues-rock swagger to sell Utah’s “still got it” myth.

“Crazy (Jamie Jones Remix)” — Art Department
Where it plays: ~00:21 — on Bodhi’s boat after the wave; an apology, some side-eye, and a bassline that smiles.
Why it matters: Signals fragile truce — dance-floor diplomacy.

“Take Me Down” — Genevieve
Where it plays: ~00:22 — yacht introductions to Al-Fariq; later reprises over end credits.
Why it matters: A pop sheen over danger; also the film’s radio-ready aftertaste.

“Yeah Yeah Yeah” — Jax Jones & Years & Years
Where it plays: ~00:23 — party cue as Bodhi steps into the light and Utah gets the once-over.
Why it matters: Stylish handshake between hero and anti-hero tribes.

“I Need Your Love (feat. BAER)” — Gareth Thomas
Where it plays: ~00:25 — Utah meets Samsara; flirtation by the rail as the city glows.
Why it matters: Sets the movie’s softest register — feeling sneaks in.

“Warm” — SG Lewis
Where it plays: ~00:26 — night swim off the boat; hushed synths, water lapping, two silhouettes.
Why it matters: A breath before the next ordeal — intimacy framed as calm water.

“AAA” → “I See (feat. Zoey Clarke)” — Sempé’
Where it plays: ~00:30–00:31 — Paris: abandoned station stake-out → underground fight club. The second track drops as fists do.
Why it matters: From stealth to spectacle in one BPM bump.

“The Power of Now” — Steve Aoki & Headhunterz
Where it plays: ~00:56 — Al-Fariq’s party; Utah circles the target as the hook chants the mission.
Why it matters: On-the-nose mantra for a crew living moment to moment.

“Dirty Bass” — Steve Aoki & DJ Fresh
Where it plays: ~00:58 — strategy whispers between drops; Utah and Grommet trade read-outs.
Why it matters: Keeps the needle at go while plans harden.

“Fade Out Lines (The Avener Rework)” — Phoebe Killdeer & The Avener
Where it plays: ~00:59 — Utah and Samsara talk Bodhi/Ozaki on the margins of the party.
Why it matters: Smoky, mid-tempo doubt — the first crack in Utah’s cover.

End Titles: “Still Breathing” — Dig the Kid
Where it plays: ~01:39 — closing credits rollout; the band gets the last word.
Why it matters: Gives the film a rock exit instead of pure synth thunder.

Score: “Paris Fight Club” — Tom Holkenborg
Where it plays: Warehouse brawl sequence; snarling synths, hand-drum pulses, distorted hits.
Why it matters: The score’s signature sound — metallic grind as kinetic grammar.

Score: “Bodhi’s Final Wave” — Tom Holkenborg
Where it plays: Climactic attempt at the impossible swell; long-line pads over sub-bass and a climbing ostinato.
Why it matters: Turns the philosophy into sound — surrender as crescendo.

Notes & Trivia

• The commercial album includes one Holkenborg cue (“Point Break End Credits”); the rest of his score circulated mainly in film/promo form.
• Song clearances skew late-night: Steve Aoki shows up twice; SG Lewis and The Avener cover the low-glow moments.
• Some tracks on the VA album double as diegetic party music, blurring score/source boundaries.
• Yes, that Black Keys riff really scores surf footage — a knowing swagger gag.

Music–Story Links

“Runaway” frames the origin wound — a pop hook over a fatal stunt — so every later drop inherits guilt. Party cuts (“Yeah Yeah Yeah,” “The Power of Now”) soundtrack entrances and social tests; when Utah and Samsara break the noise, “Warm” slows the frame rate so feeling can surface. The score takes over as ordeals escalate: fight-club percussion, free-solo vertigo, then the long, terminal bow of “Bodhi’s Final Wave.”

In short: songs sell belonging; score sells belief.

Reception & Quotes

Reviews hammered the script but credited the stunt unit and sound for brute effectiveness. The album itself plays like the movie’s travelogue of scenes you remember — boat lights, club haze, canyon wind.

“A visual dazzler and a dramatic non-starter.” — Variety

“Whatever charms that film might have had are utterly lost.” — RogerEbert.com

“Pointless remake… bikes, bank robberies and bad CGI.” — The Guardian

Interesting Facts

• Album label: The VA soundtrack is credited to Alcon Sleeping Giant (ASG) under exclusive license to Sleeping Giant Media.
• Placement density: Fan/scene logs count north of 40 cues used across the film — far more than the 13-track album.
• Black Keys drop: “Gold on the Ceiling” turns a surf beat into a swagger gag; not on the official album.
• Two endings, musically: End titles can carry either Genevieve’s reprise or Dig the Kid’s “Still Breathing” depending on territory/version.
• Music-supervised stunt reel: Many behind-the-scenes reels cut to the same EDM selections that appear diegetically in party scenes.

Technical Info

• Title: Point Break (Original Motion Picture Soundtrack)
• Year: 2015 (U.S. release December 25; compilation album December 4)
• Type: Film soundtrack — various artists + select score
• Composer: Tom Holkenborg (Junkie XL)
• Music Supervision: Deva Anderson
• Label/Album: Alcon Sleeping Giant (ASG) — under exclusive license to Sleeping Giant Media (digital)
• Notable placements: Andrew Watt — “Runaway”; The Black Keys — “Gold on the Ceiling”; Art Department — “Crazy (Jamie Jones Remix)”; Genevieve — “Take Me Down”; Jax Jones & Years & Years — “Yeah Yeah Yeah”; Gareth Thomas feat. BAER — “I Need Your Love”; SG Lewis — “Warm”; Steve Aoki & Headhunterz — “The Power of Now”; The Avener — “Fade Out Lines (Rework)”; Dig the Kid — “Still Breathing”.
• Availability: Streaming storefronts (13 tracks); select Holkenborg cues appear on official platforms/playlists; no full commercial score release.

Questions & Answers

Who composed the score?

Tom Holkenborg (aka Junkie XL) composed the original score for the 2015 remake.

Is there a full score album?

No wide commercial release of the complete score; the VA album includes one end-credits cue by Holkenborg.

What label released the songs album?

Alcon Sleeping Giant (ASG), under exclusive license to Sleeping Giant Media.

Which song opens the movie?

Andrew Watt’s “Runaway” — it scores the dirt-bike opening and sets the film’s adrenaline/sorrow tone.

What plays over the end credits?

Dig the Kid’s “Still Breathing,” with Genevieve’s “Take Me Down” also heard; Holkenborg’s “Point Break End Credits” appears on the album as well.

Canonical Entities & Relations

Subject	Relation	Object
Tom Holkenborg (Junkie XL)	composed score for	Point Break (2015)
Deva Anderson	music supervised	Point Break (2015)
Alcon Sleeping Giant (ASG)	issued	Point Break (Original Motion Picture Soundtrack) (under license)
Warner Bros. Pictures	distributed	Point Break (United States)
Andrew Watt	performed	“Runaway” (opening placement)
Genevieve	performed	“Take Me Down” (feature/end titles)
Steve Aoki & Headhunterz	performed	“The Power of Now” (party placement)
SG Lewis	performed	“Warm” (night-swim placement)
The Avener	performed	“Fade Out Lines (Rework)” (conversation placement)

Sources: Apple Music album page; Spotify listing; IMDb soundtrack & credits; FilmMusicReporter; SoundtrackRadar (scene timings); Variety, The Guardian, and RogerEbert.com reviews.

In such an active and dynamic film, the same music just had to be – for example, The Power Of Now by Steve Aoki or Runaway. The film is an interesting fusion of spy movies, anarchic ideas, crazy people, and phenomenal tricks. The film, where unrealistic jumps in flying suits that makes a person look like a flying squirrel found the outrageous embodiment. This is complemented by vertical landings in a cave on a stunning speed. No matter how tough you are, but doing such tricks is beyond capacity. At least, in the mind of the average person that does not understand how this all on the screen is possible. Complement this with deep philosophy, thought-through anarchic ideas, their striking implementation, as well as strong enjoying with life at the same time – like surfing on the waves, high like a building, or jumping headfirst from the waterfall, or jumps on motorcycles from 20th floor of the skyscraper on the street right through its glass – and you get a clue of what the creators of this film have put here. The film does not contain very big names of music artists, for example – who knows Andrew Watt? Nevertheless, the performance of the songs here will find its fans in youth that is heart-opened to popular Brit pop represented by Fade Out Lines. Interestingly, this film is one of the most worked-through about the anarchy that has the most spectacular stunts and effective implementation of ideas of an equal dissemination of the world's wealth. For example, jumping with a pile of money out of the plane to rain-shed them on the locals. Or giving away diamonds to poor Afro American people. Just like Robin Hoods of our time – in this case, they don’t leave anything to themselves. We wonder what would happen if all of their money would be stolen by the same Robin Hoods? Would they rage?

November, 19th 2025

Find "Point Break" profile on IMDb, read more on Wikipedia, visit movie Official Website

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