Hurwitz nearly worked on Babylon for three years to create a "unique musical universe" that is believable enough for the 1920s, but also "a far cry from the quaint jazz of the period",[1] which was a "challenge" for the composer.

[2][3] He created a "fresh concoction that matched the wild, hedonistic world of the film",[1][4] by using jazz band instruments in more contemporary ways, drawing inspiration from rock and roll, and modern dance music.

[12] The first two preview tracks, "Call Me Manny" and "Voodoo Mama" were reviewed by Rolling Stone's Jon Blistein who mentioned it as "pulsating blasts of hot jazz stuffed with thundering drums and boozy horns".

[9] At the special screening of the film, press critics praised Hurwitz's score, with Jeff Nelson calling it as "one hell of a wall of sound".

"[15] Filmtracks.com reviewed "the soundtrack for Babylon is smart dysfunction by design, Hurwitz opting for insanity as a method of enhancing the overstimulating nature of the movie.