I think you know what I’m talking about…

2007: Juno – Syncing the Moldy Peaches to high school kids’ iPods everywhere
2008: Nick and Norah’s Infinite Playlist – Devendra Banhart, Vampire Weekend, Band of Horses…
2009: Paper Heart – Pretty much Cera himself doing the indie thing himself. Still that movie, though.

And he’s up to it again with Scott Pilgrim vs. the World, another comic book adaptation for the big screen that’s due to open August 13. The soundtrack, naturally, comes packed with tunes from Crash and the Boys and SEX BOB-OMB!

Uh…who?

These are actually the fictional monikers of Broken Social Scene and Beck, respectively. Other notable artists making cameos include Black Lips, T. Rex and The Rolling Stones. Cera’s agent is apparently aiming to connect with my heart via stacked soundtrack line-ups.

I’m especially looking forward to the new tracks, “We Are SEX BOB-OMB” (Beck), and “We Hate You Please Die” (Broken Social Scene).

The soundtrack will drop August 10 via ABKCO.

Scott Pilgrim vs. the World:

01 SEX BOB-OMB (Beck) – “We Are SEX BOB-OMB”
02 Plumtree – “Scott Pilgrim”
03 Frank Black – “I Heard Ramona Sing”
04 Beachwood Sparks – “By Your Side”
05 Black Lips – “O Katrina!”
06 Crash and the Boys (Broken Social Scene) – “I’m So Sad, So Very, Very Sad”
07 Crash and the Boys (Broken Social Scene) – “We Hate You Please Die”
08 SEX BOB-OMB (Beck) – “Garbage Truck”
09 T. Rex – “Teenage Dream”
10 The Bluetones – “Sleazy Bed Track”
11 Blood Red Shoes – “It’s Getting Boring by the Sea”
12 Metric – “Black Sheep”
13 SEX BOB-OMB (Beck) – “Threshold”
14 Broken Social Scene – “Anthems for a Seventeen-Year-Old Girl”
15 The Rolling Stones – “Under My Thumb”
16 Beck – “Ramona (Acoustic)”
17 Beck – “Ramona”
18 SEX BOB-OMB (Beck) – “Summertime”
19 Brian LeBarton – “Threshold 8 Bit”

Beck, M. Ward, Lucinda Williams, Elvis Costello, Eels, and many more—including Bob Dylan—appear on True Blood Volume 2, and you can read the full roster below.

The soundtrack is streaming exclusively right now and will be released officially on May 25 via Elektra.

True Blood Volume 2
01 M. Ward – “Howlin’ for My Baby”
02 Jace Everett & CC Adcock – “Evil (Is Going On)”
03 Beck – “Bad Blood”
04 Robbie Robertson – “How To Become Clairvoyant”
05 Jr. Walker and The All Stars – “Shake And Fingerpop”
06 Screamin’ Jay Hawkins – “Frenzy”
07 Lucinda Williams with Elvis Costello – “Kiss Like Your Kiss”
08 Buddy & Julie Miller – “Gasoline And Matches”
09 Chuck Prophet – “You Did (Bomp Shooby Dooby Bomp)”
10 The 13th Floor Elevators – “You’re Gonna Miss Me”
11 Eels – “Fresh Blood”
12 Thievery Corporation – “The Forgotten People (Bon Temps Remix)”
13 King Britt & Sister Gertrude Morgan – New World In My View”
14 Bob Dylan – “Beyond Here Lies Nothin’”

Grizzly Bear’s Chris Taylor co-produced the album. Lidell, meanwhile, rekindled some connections made during another recent collaboration and enlisted the likes of Beck, Feist, Wilco’s Pat Sansone, and R&B drumming legend James Gadson to help, along with Brian LeBarton and producer/songwriter Gonzales. Our dreams have all come true and it’s only Monday.

Expect news of a Lidell tour soon. Compass is out May 18 via Warp.

When pieces of Charlotte Gainsbourg’s IRM began to surface late last year, one of the internet favorites was a video for the single “Heaven Can Wait,” in which Gainsbourg, along with Beck—who produced the album and did a large bulk of its songwriting—were seen singing and playing amid a montage of images that made little sense when strung together. The video was by no means haphazard. Its unifying factor was simply hard to place.

The album as a whole follows suite. Stylistically, there is no one defining sound. Beck, after all, has been an avid genre-hopper and experimentalist from Mellow Gold right up to 2008’s Modern Guilt, and IRM winds up quite the mixed musical bag. Whispery ballads and grunge-era guitars go up against M.I.A.-esque raps and slouchy blues-rock in the course of 13 tracks, and would make for an arbitrary collection of sounds if not for the distinctly foreboding aura that hovers over the entire album.

The latter fact is hardly surprising; IRM was written in the wake of a water skiing accident that, in 2007, left Gainsbourg with a cerebral hemorrhage requiring emergency brain surgery. The letters I-R-M stand for imagerie par resonance magnétique—what the French call an MRI. The name is a not-so-subtle reminder of Gainsbourg’s near-death experience, which—along with her role in Lars Von Trier’s gratuitously graphic Antichrist—informs much of the album thematically.

In the title track, this is illustrated simply (and successfully) via the synthetic background noise that hypnotically mimics the clicking sounds made by machinery during an MRI examination. Similarly, the aforementioned “Heaven Can Wait,” a standout track, features handclaps and kickdrums that call to mind a somber funeral procession. “Heaven can wait, and hell’s too far to go,” sings Gainsbourg, suggesting a state of purgatory that crops up again and again. We’re not sure whether to grieve or rejoice, and Gainsbourg and Beck do everything they can to perpetuate that conundrum. “Time of the Assassins” features a melancholy string section over which Gainsbourg sings, “It doesn’t take a miracle to raise a heart from the dead” in a voice that’s angelic and, at times, even playful. In “Dandelion,” she tells us, “I’ll take my time before I go under ground” while a decidedly country bassline shuffles merrily along in the background.

Elsewhere, “Greenwich Mean Time” finds Gainsbourg doing a version of rap over a combination of analog and synthetic beats. “Me and Jane Doe” is the most upbeat track on the album, with its laidback acoustic picking and breezy choruses. “La Collectionneuse” is comprised of a simple melody laid over a haunting bassline and Gainsbourg singing, “The sum of all these parts/
I don’t know how to measure /They keep on adding up /They just keep on adding up,” thus closing the album appropriately.

Beck’s production and songwriting contributions are inarguably vital to the album’s success, as well as highly recognizable fare (shades of Modern Guilt and The Information are everywhere), but they play second fiddle here. Gainsbourg’s voice may be limited in its range, but she never wavers, and has, it seems, finally ceased to labor under the shadow of her famed father (pop provocateur Serge Gainsbourg) and his god-like legacy. The moment unarguably—and deservedly—belongs to her.

All previously posted tracks from the collaboration are up right now at the Record Club site.

The song is from Gainsbourg’s Beck-produced album IRM, due out January 26 on Because/Elektra.

Previously, we’ve seen the man himself covering The Velvet Underground and Nico, as well as MGMT and Devendra Banhart covering Songs of Leonard Cohen.

Rumor surfaced a while back that Wilco would, at some point, be involved with the project, a fact confirmed via beck.com earlier this week. Better yet, neo-soul crooner Jamie Lidell and Feist just happened to be hanging around the studio when Wilco dropped by, and the whole crew covered Jefferson Airplane member Skip Spence’s classic psych-folk album, Oar. Jeff Tweedy’s son Spencer even lended a hand with some of the drumming for the project.

The eight songs recorded during that session will be released in weekly installments. The first, “Little Hands,” is up and available now.

UPDATE: And here’s a video for “Little Hands,” with footage of the whole crew hard at work in the studio.