With the soundtrack for "Lost Highway," Trent Reznor has proven that he has an ear for good music as well as an ability to mold it into an album that captures the haunting weirdness of a David Lynch film. "Lost Highway" is not the first film soundtrack Reznor has produced; his previous work can be heard on the soundtrack for "Natural Born Killers," another album where he effectively blends old and new into a unique sonic melange.
The soundtrack itself comes full circle, beginning and ending with David Bowie's "I'm Deranged" from "Outside," Bowie's last, very experimental, recording. The rather danceable song has a strong drum and bass beat that sets the tone for the rest of the soundtrack, featuring several of today's popular artists experimenting with a more techno-oriented, synthesized sound. Most notably, the CD features new songs from both Nine Inch Nails and Smashing Pumpkins. "The Perfect Drug," Nine Inch Nails' contribution, is a powerful, angry, drum-laden song that should only make NIN fans more anxious for a new album. And, for those who still haven't heard, this soundtrack is not it. Though it does feature two solo Trent Reznor tracks, "Videodrones: Questions" (which sounds a little like a strong wind) and "Driver Down," "The Perfect Drug" is the only NIN song to be found. But, with lines like "My drug wants to say hello to you / My fears want to get inside of you," it is clear that Reznor is still up to his "my moral standing is lying down" lyrical greatness.
"Eye," with its synthesized drum loop, is some of the best Smashing Pumpkins material to date. A magnificently haunting song, "Eye" manages to be eerily beautiful partially because Billy Corgan's whine blends into the melody like never before. Another frequent contributor to Lynch's work is Angelo Badalamenti, creator of the Twin Peaks theme, "Fire Walk With Me." On "Lost Highway," listeners get to experience a wide range of Badalamenti works, ranging from the jazzy "Red Bats with Teeth," which builds to an almost cacophonous frenzy, to the reggae and dub-inspired beats of "Dub Driving." For those looking for more instrumental unearthlyness in the vein of "Fire Walk With Me," there is "Fred's World" and the odd jazz combo/orchestral "Fats Revisited."
Other standouts on "Lost Highway" include Barry Adamson's "Mr. Eddy's Theme 1" (and 2), sexy Pink Panther-ish tunes, Lou Reed's remake of "This Magic Moment," a disarming combination of electric guitars and country jangle, and Antonio Carlos Jobim's simple cha-cha "Insensatez." Marilyn Manson makes two contributions as well, the dark and creepy "Apple of Sodom" and Jay Hawkins' 1956 ditty "I Put A Spell On You" in which Manson's screaming of "I love you" has an inexplicably humorous effect.
Unlike the soundtrack for "Natural Born Killers," there is little dialogue contained within the 23 songs from the film. But, within the bookends of David Bowie, Trent Reznor has managed once again to include an astonishingly diverse yet contemporary blend of artists. Each song seems to be a little piece of a puzzle, each with its own haunting and mysterious qualities, fitted together by the sheer bizarreness of their producer.
- Lise Harwin
Marilyn Manson is one strange cookie.
Drawn to the Deep End
Polydor/A&M
With far more diverse and open song writing housed in a less rigid framework than the band's debut LP "Olympian," "Drawn To The Deep End" showcases a Gene with more power, more punch and even more passion than before.
The proof is everywhere you listen: Singer and classy coxcomb Martin Rossiter's seductive voice spans different depths, from a tiger-growl to a heart-piercing croon, guitarist Steven Mason has sharpened his riffs and hooks to fit just so with his soulful soloing, and bassist Kevin Miles' and drummer Matt James' musical craftsmanship has been brilliantly buffed and polished.
The first notes of opener "New Amusements" grow slowly underneath Rossiter's distortion-drenched murmurings. His breathy taunts finally explode into an inspiring plea as his bandmates launch into a full-throttle spasm, only to shift again into different movements of whining guitar and crisp drumming.
More refined greatness is flexed on the muscles of the first single "Fighting Fit," in which Rossiter belts out the zesty chorus like a champion prize fighter, and on the beautiful "Where Are They Now," where the soothing piano and guitar melody has just enough of a hard edge to maximize the song's intensity. On the latter, Martin's lyrics pour from an open wound: "You see I cannot stand alone / I'm incapable of breathing / Incapable of love."
Rossiter is far more flamboyant and candid with how and what he delivers on "Drawn" than on "Olympian." With love and loss at the forefront of most of the songs, his words hit the listener with an instantly penetrating zeal as his messages are not enshrouded in excess mystery or confusion. Yet his emotion is in no way feigned or manufactured. Instead, his cocksure flourishes bleed raw honesty and drip with delicacy.
Current single "We Could Be Kings" combines all the best elements of "Drawn" and clearly stands out as one of the album's strongest hits. Studio polish has greatly improved this song, which has been played live since Gene's 1995 U.S. tour dates. Rossiter soars as he sings of yearning for triumph: "Will you hold me like a child? / Will you catch me when I fall?/ Can you hear me when I call? / Can you love me?"
Gene does not give off the arrogance that some British bands are becoming famous for, nor do they cater their song writing to the paint-by-number 'Brit-pop-formula' for a hit single. Whether it is because frontman Rossiter can actually string a sentence together, or because Gene's sound has an intellectual dimension comparable to The Smiths, some listeners may look at Gene and wonder if they are for real. But after experiencing "Drawn," anyone blessed with the use of their hearing will be sure to find Gene much more than simply a Smiths reincarnation and Rossiter himself far more than merely a re-vamped-Morrissey-for-the-'90's. Gene's propensity for grandeur and imperious talent give the listener a very rare and precious chance; the opportunity to harness strength from a work of art. If you are not too scared to get in the water, do yourself a favor and let Gene draw you to the deep end.
- Brian Cohen
Gene might be a pretty cool band with a great new CD, but Marilyn Manson (the person, not the band) could kick all of their butts singlehandedly.
Without a doubt, Itzhak Perlman is one of the world's greatest musicians, charming old and young alike with the skill of his violin playing. In "Live at the Fiddler's House," Perlman joins forces with Brave Old World, Andy Statman, the Klezmatics and the Klezmer Conservatory Band in a live performance from Radio City Music Hall in New York, bringing to life the vibrant sounds of Yiddish folk and theater music.
The CD starts off on a bright and lively note, with four pieces featuring Brave Old World, a four-member group that combines classical music and jazz with the indigenous sounds of the East European Jewish tradition. The Kelzmatics come next with five tracks, and their musical style differs from the former in that it looks very much to the future rather than the past. The Kelzmatics also play with Andy Statman, who is featured in the next four songs. Then comes the Klezmer Conservatory Band, who play in the tradition of the great klezmer bands of the '20s and '30s, and finally, the Finale, which features everyone. Good old Itzhak plays in all of the pieces, impressing the crowd as always.
A nifty feature of this CD is that the lyrics to all of the songs are printed on the inside of the jacket, so that one can sing along to all these festive pieces. Furthermore there are songs for just about every occasion, whether it be a wedding dance, the birth of a healthy girl or even just mother going to the market. The lyrics come complete with an English translation, so those who don't understand Yiddish can still get something out of it.
Admittedly, this is an unusual selection for one to make at the record store. But for those who dare to be unusual, there is a nice surprise in store for you. The music is distinctively Yiddish, something different, something pretty good.
- Anitha Chalam