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Rating: “Funny how secrets travel…”
Secret voyages into the deepest recesses of the human psyche. Dead zones illuminated by a faint and distorted light. Tangible shadow areas, mystery embodied in distant images and notes that penetrate the synapses like shards of madness. Everything that you can feed on in David Lynch's Lost Highways, an absolute masterpiece that calling it a "film" would be like calling a Cezanne masterpiece a "painting," you will find in this soundtrack, which is much, much more than a collection of 23 songs.
A journey into darkness produced by none other than the twisted mind of Mr. Reznor (and - believe me - you can feel it). The gash in the oneiric matter is the work of David Bowie, “I’m Deranged” (from the masterpiece "Outside"), ontology of the work of art. A song that tastes like a nightmare, a road to nowhere, with a chilling vocal melody. After Reznor’s chilling interlude, a manipulation from the film and the masterpiece “The Perfect Drug,” came the first tastes of the master Badalamenti, in my opinion one of the greatest film music composers along with Bernard Herrmann and the national treasure Ennio. From schizoid grooves to jazz reinterpretations (above all, the splendid “Fat’s Revisited”), from blues to sublime orchestras, he is the deus ex machina of the album. But there are many travel companions... with Barry Adamson and his "Mr Eddy Themes" you will feel like you're in an old noir, hat on your head, trench coat, and a Bogart-like cigarette, and the mystery will seem increasingly material... the Smashing Pumpkins with "Eye," a sweet and dark melody on an electronic beat, like the beating of your heart falling in love under the soft caresses of the notes of “Insensatez” by Antonio Carlos Jobim, king of Bossa Nova. Even the cocky and cheerful riff of Lou Reed, “This Magic Moment,” seems like a brief dream in the nightmare, because when you turn the corner you will find a more Luciferian than ever Marylin Manson (and in a state of grace, now a far-off memory, with “Apple of Sodom” and “I Put a Spell On You”), and the cold metal of the Rammstein, terrible in normal cases, but appreciable in the particular context.
When Badalamenti's violins have seeped under your skin, and you've reached the point of no return, madness will arrive inexorably and mockingly with Reznor's seal, “Driver Down,” a masterpiece of instrumental industrial, fierce as a head-on collision with death. And on the verge of closing your eyes, even the madness of the last notes of piano and sax fades away... the oneiric material closes again with who had penetrated it... the voice of the White Duke, the same voice, like a Déjà Vu.
If you want to embark on this journey, aware of the dangers you are facing, don't you dare do it without watching the film. It would be sacrilege.
Tracklist
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