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| 1. I'm Deranged (Edit) - David Bowie | |||
| 2. Videodrones; Questions - Trent Reznor | |||
| 3. The Perfect Drug - Nine Inch Nails | |||
| 4. Red Bats With Teeth - Angelo Badalamenti | |||
| 5. Haunting & Heartbreaking - Angelo Badalamenti | |||
| 6. Eye - The Smashing Pumpkins | |||
| 7. Dub Driving - Angelo Badalamenti | |||
| 8. Mr. Eddy's Theme 1 - Barry Adamson | |||
| 9. This Magic Moment - Lou Reed | |||
| 10. Mr. Eddy's Theme 2 - Barry Adamson | |||
| 11. Fred And Renee Make Love - Angelo Badalamenti | |||
| 12. Apple Of Sodom - Marilyn Manson | |||
| 13. Insensatez - Antonio Carlos Jobim | |||
| 14. Something Wicked This Way Comes (Edit) - Barry Adamson | |||
| 15. I Put A Spell On You - Marilyn Manson | |||
| 16. Fats Revisited - Angelo Badalamenti | |||
| 17. Fred's World - Angelo Badalamenti | |||
| 18. Rammstein (Edit) - Rammstein | |||
| 19. Hollywood Sunset - Barry Adamson | |||
| 20. Hierate Mich (Edit) - Rammstein | |||
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Trent Reznor organizing the soundtrack to a Lynch film makes shockingly perfect sense to me, and upon seeing the track listing for the album, I was further enthused - 23 tracks, obviously set off in the right direction with rare and unusual songs by the greats Reznor, Lou Reed, David Bowie and Smashing Pumpkins (perhaps Manson, but that's another debate) and a plethora of intriguingly-titled songs by artists I didn't know.
Upon listening, the album is a brilliant and captivating experience, even if you're playing it while about other activities. Bowie's deep and sombre I'm Deranged, aptly followed by the artsy Reznor snipet, Videodrones Questions and The Perfect Drug, set a strange mood of a kind of insecure, inadequate hope or clinging positive energy in a distinctly dark and unknown zone.
From here on, the album spaces a selection of industrial tracks between carefully selected and varied jazz songs without ever losing continuity. The mood isn't static or generic as to produce the same feeling all the way through (as in The Matrix soundtrack) - instead it drifts across fear, unease, and occasionally a kind of hysteric, hypermanic joy, as if desensitized or driven mad by the enclosing depth of the rest of the album.
For those who aren't too great fans of NIN, Smashing Pumpkins or Manson, their respective tracks on the album distance themselves from any kind of stereotype or general style attributed to the creators. Rammstein may still not be a particularly good addition in my mind, but it would seem that the other more recent contributors all put in decidedly different and appropriate material.
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