•
Rating: An imaginative soundtrack, based on grunge/alternative metal/gothic/industrial, for a great film that... I still need to watch.
But perhaps this may be a point in favor of the work in question, as I can't say if this stylistic choice might clash with the film's atmospheres itself.
It begins with one of the BEST songs by The Cure, "Burn," with which they recover from the more-or-less mid-80s pop shift that I never managed to fully appreciate. A dark track with scratching and cutting atmospheres (in fact, The Cure greatly influenced the protagonist of the original comic from which this movie is taken).
It continues with "Golgotha Tenement Blues" by Machines of Loving Grace, with faster sounds and grunge tendencies. An excellent track that slightly escapes the gloominess of the previous song to make room for more aggressive rhythms.
Now the song that gained the most success, "Big Empty" by Stone Temple Pilots. Scott Weiland sings desperately the decadent chorus "These conversations kill!" A truly memorable track.
Since Joy Division, another band that greatly influenced the protagonist, had already broken up (for trivial reasons: Ian Curtis, the singer and songwriter, hanged himself in 1980), Nine Inch Nails deliver an personally successful cover of "Dead Souls," making it more angry and furious (when the drums start around 3:40, an automatic headbanging kicks in).
"Darkness" is a song in full Rage Against The Machine style: it begins with a calm bass line, then explodes into viuuulence with Zack De La Rocha rapping furiously and Tom Morello giving his guitar amazing effects.
Next are Violent Femmes with "Color Me Once," characterized by a more complex and "clean" sound compared to their beginnings, yet still marked by Gordon Gano's singing, with a unique expressiveness.
Skipping over Rollins Band with their "Ghostrider" (the singer's voice strongly reminds me of Jim Morrison), it's Helmet's turn with "Milquetoast," and with this track, we reach peaks of very "stoner" metal: granite riffs that bury the slightest trace of easy listening (listen to how the riff at 3:24 is overshadowed by the main theme of the song). A track that, if listened to at maximum volume, will shake your internal organs.
To avoid going on too long, we come to the last song (not that the others are bad, but in my opinion, they are of lesser depth): the sweet "Can't Rain All the Time" by Jane Siberry. Although I have not yet seen the film, I can easily infer that our protagonist has won, conquered the villains, and finally managed to get revenge. The sweet notes mark the end of the torment, and who knows? Maybe, as the title might suggest, the sun now comes out, like in Blade Runner, symbolically representing the peace reached by the protagonist and the end of deaths.
Great soundtrack, and I hope the film doesn't disappoint.
Loading comments slowly
