TRENT REZNOR has done it again. Created a film soundtrack which actually
bears some relation to the film.
The Nine Inch Nails mastermind's 'Natural Born Killers' album stood
severed head and shoulders above the rash of haphazard rock-oriented
soundtracks released in 1995. Somewhere along the line, compilers had
forgotten the very purpose of soundtrack music: to reflect and enhance the
film, not to use it as a selling point for shoddy CDs.
'NBK' was a lovingly stitched noisescape. A continuously flowing
journey, it even featured soundbites from the movie. 'Lost Highway' takes
the same route, weaving an oppressive chain of music which matches the
freaky film-noir shades of this new David Lynch flick.
Thankfully, Reznor has once again cast his own music in star roles.
Prefaced by the 44-second 'Videodrones: Questions', 'The Perfect Drug'
begins experimentally, like an out-take from 1994's 'The Downward Spiral'
album, then kicks loose with one of the catchiest choruses Reznor has
spawned since 'Pretty Hate Machine'. It ends stunningly in a storm of
'Driver Down' is credited simply to Trent Reznor. You may well wonder
what the difference there could possibly be between NIN and Reznor
compositions, but 'Driver Down's instrumental insanity provides the answer.
It begins with the most metallic section the singer has ever put his name
to, before entering an indescribable cacophony involving yet more tribal
percussion and piano. Hear it to believe it.
That's NIN fans happy. Elsewhere, we have two exclusive tracks from
Marilyn Manson. 'Apple Of Sodom' sees the band in sinister, down-paced
mode, brilliantly complementing the overall feel of the soundtrack. 'I Put
A Spell On You' is a cover of a 1956 tune by Screaming Jay Hawkins, once
again subdued by Manson standards.
The Smashing Pumpkins atmospheric 'Eye' seems to herald their promised
'cyber-future'. Using electronic drums, the music sounds vaguely like early
Erasure, with Billy Corgan's creepy voice the only Pumpkins mainstay. It's
The album's rock quota is completed by Rammstein. God knows how they
landed slots on this album but they're clearly German, with macabre vocals
over simplistic metal chugging. Seeing as David Lynch chose the utterly
obsure Powermad for his 'Wild At Heart' soundtrack, Rammstein's inclusion
isn't so much of a shock.
David Bowie's perky 'I'm Deranged' is split into halves, which cleverly
sandwich the whole album, while Lou Reed's cover of Doc Pomus' 60s classic
'This Magic Moment' is less suitable. Besides Antonio Carlos Jobim's
'Insensatez' (quality supermarket music), the album's remainder comes from
soundtrack composers. Angelo Badalamenti co-wrote themes for 'Twin Peaks'
and 'Blue Velvet' with Lynch. His material here ranges from insane sax
warblings to Pink Panther-esque grooves. Barry Adamson's stuff is less
memorable, but appropriately moody.
Ladies and gentlemen, the world's second 'Natural Born Killers'
Added to Smashed Up Sanity thanks to Gaby Boffa.
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is provided courtesy Keith Duemling and Tracy Thompson from the collection previously
located at SUS.