Having worked on notable films such as Savage, The Mountain and Dame Valerie Adams: More Than Gold, Israeli/NZ screen composer Arli Liberman is no stranger to marrying sound with image. Liberman’s latest release ‘Stylebender’ comprises original tracks he wrote for Zoe McIntosh’s documentary of the same name.

The film itself delves into the life and mind of Nigerian-born, Rotorua-raised MMA fighter Israel Adesanya, granting ‘behind closed doors’ access to the captivating personality known as The Last Stylebender. The film focuses on Adesanya’s making; his origins, relationships with friends and family, past traumas, vulnerabilities, and passion for dance. Strength of character forms the main theme of the movie, exploring the significance of mental fortitude, commitment, drive, and belief, while simultaneously stressing the importance of mental health.

‘Stylebender’ does exactly what a soundtrack should, setting the tone, providing context, progressing the character’s journey, and immersing the audience in the film’s world.

Foundations of the record are executed in the ambient style that Liberman is known for; floating synthesisers, soft drones, reverb and layered field recordings combine to create an ethereal and meditative soundscape. This minimalistic yet textured approach forms an unobtrusive backdrop, building tension without oversaturating the senses or the film.

The first and last tracks of the soundtrack, State of Mind and My Canvas, respectively, are the most robust works on the record, featuring vocals by D.Matthews. Like Adesanya, D.Matthews is Nigerian, and in a nod to their shared origins he sings in Yoruba – a language of that country. The phrase “oluwa mi” stands out on both tracks – translating to “my god” the phrase is used to express surprise or excitement, referencing, perhaps, the surreal heights that Adesanya has reached in his vocation.

Both tracks feature resonant synths that draw the listener into a deep contemplative space, and are underpinned by a repetitive, heartbeat-like rhythm that suggests progress, ambition and commitment. The track builds progressively as layers of sound multiply and create tension, before suddenly dropping into a serene, zen-like space, creating a peaceful resolution. While the background sound is somewhat different between the two tracks, the vocals are mirrored – in effect, the opening track sets the listener on Israel’s transformative journey, and the closing track brings them full-circle, creating a sense of closure.

Perhaps the most charged work on Liberman’s album is And Still There. It begins with a spoken word sample of Adesanya talking about past-trauma, growth and self-esteem, laid over the top of sustained string tones, repetitive muted shakers, and ritualistic humming, before dropping into pronounced beats and low-toned African chanting that creates a tribal, ritualistic effect. Reminiscent of the mantras and incantations that Adesanya is so fond of, this track is meditative and full of power. Its haunting, hypnotic quality creates an atmosphere that feels eerie and primal, and the production feels simultaneously futuristic and ancient, bridging the gap between old-world chants and modern electronic soundscapes.

Other ‘Stylebender’ tracks are more soothing and introspective, often featuring subtle field recordings that ground the listener, sparkling cymbals that add hypnotic mystery and non-lexical vocals that add depth.

Moving through phases and degrees of intensity, Liberman’s original score carries the film’s key themes so effectively, that having not seen the movie, one is able to gather them from the music alone. Not only does ‘Stylebender’ effectively enhance the film’s storytelling, but it’s an entrancing record that’s just as powerful on its own.