Gracing the glowing glow of televisions in the United Kingdom for several years (and computers, as fans worldwide have explored what the internet has to offer), the revised format of the motoring show Top Gear is home to a number of memorable moments and provides compelling viewing in a rather bizarre way.

The unique trio of hosts discuss and review cars that, for the majority of the time, are out of reach for the typical working class person. It gives the audience an insight to the performance of such vehicles and whether they are sub-zero or uncool. Bantering ensues as the hosts often disagree with each other.

As years have passed, the show has become renowned for the combination of quality cinematography work alongside the usage of production music cues. The juxtaposition of these visual and audio elements delivers a cinematic feel to what is merely a trivial task; a person driving a car. Featuring a range of music from the likes of Beck and Led Zepplin, to the orchestral tunes by Ennio Morricone, David Arnold, and many music houses, the show has relied on these songs to evoke the sensation of excitement.

The latest episode (episode two of season thirteen) uses a selection of E.S. Posthumus songs, both new and old, to accompany the reviews of some of the fastest production cars in the world. Past tunes such as Tikal and Nineveh are played along the slower paced shots while Posthumus Zone, Unstoppable, and Arise can be heard when drag racing becomes a whole lot more serious.

McLaren F1 vs Bugatti Veyron | Source - BBC

It has been a few seasons since music by ESP has been featured prominently in an episode, the last time being the Top Gear Polar Special where at least half of the songs on Unearthed were used for the presentation.

Much of ESP’s work is heard through movie trailers and television show themes, so it is great to hear these awesome songs being combined with something that makes for great viewing. Good times.