June 12, 2025

Various Artists - City of Angels: Music From The Motion Picture (1998)

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Country: U.S.A.
Genre: Pop Rock, Rock, Film Score
Label Number: 9 46867-2
 
© 1998 Warner Sunset/Reprise Records
*No professional reviews are available for this release.

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Various Artists - City of Industry Soundtrack (1997)

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Country: U.S.A.
Genre: Trip Hop, Big Beat
Label Number: 314-524 308-2
 
© 1997 Quango Records
Think about Harvey Keitel. Think about what kinds of songs you'd pick to put in his movie. The result is, most assuredly, everything included on the City of Industry soundtrack. As a trip-hopped compilation, the album is without fault. As an indicator of just how far "underground" dance music had seeped into the mainstream by 1997, it's massive. And as a mirror of the darkness that percolated through the film, City of Industry is perfect. It's a rare success, concocting a blend of tracks that not only reflect the action onscreen, but also work together out of the cinema and long after the fact. This set does both with ease. The artists included read like a Who's Who of the late-'90s dance industry: Massive Attack, Bomb the Bass, and Tricky represent trip-hop's holy trinity with "Three," "Bug Powder Dust," and "Overcome," respectively. But that's just the beginning. What made this particular soundtrack so vital at the time of its release was that many of the tracks culled for the disc were new to ears in the U.S. Lush's "Last Night" could initially only be heard as a promo B-side; both "Walking on Water" (Palm Skin Productions) and "Rocco Sings for a Drink" (Death in Vegas) were import-only; and Mr. Jones' "Red" was a vinyl compilation track -- great if you were one of the few people who still owned a record player in 1997, but infuriating for the rest. Butter 08's "Degobrah," meanwhile, was remixed specially for the OST. This is a timeless collection; it grooves, it rocks, and it's creepy to boot. The songs get under your skin; the sounds are ethereal and sweet, raucous and menacing. And it's never once watered down for those not in the know. 
 
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Various Artists - Moog (Original Film Soundtrack) (2004)

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Country: U.S.A
Genre: Electronic, Alternative Rock, Pop, Pop Rock, Leftfield
Label Number: 2061-62471-2
 
© 2004 Hollywood Records
*No professional reviews are available for this release. 

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June 03, 2025

Various Artists - Napoleon Dynamite: Original Motion Picture Soundtrack (2004)

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Country: U.S.A.
Genre: Pop, Pop Rock, Alternative Rock
Label Number: LKS 33810
 
© 2004 Lakeshore Records
Napoleon Dynamite's soundtrack works on the same mix of awkward and sweet that typifies the film. It's sprinkled liberally with soundbites of Napoleon himself (Jon Heder) and those in his life, such as quotable comebacks like "Yeah right, who's the only one who knows the illegal ninja moves from the government?," or Kip's (Aaron Ruell) declaration of his plans to become a cagefighter. Napoleon Dynamite also takes a page from the Rushmore soundtrack by sequencing composer John Swihart's suitably quirky score amidst the handful of indie pop and 1980s faves that anchor the set. Rogue Wave fans will note a live version of the Out of the Shadow standout "Every Moment," and Figurine's "New Mate" is a gem from the trio's 1999 revivalist synth pop album Transportation + Communication = Love. Though the music here is united by a certain offbeat quality, relationships -- family, friends, love, self -- are the real focus. It gives listeners the range, from the swagger of Bow Wow Wow's "I Want Candy" to the crackling soul-jazz and bootstraps message of Money Mark's "Sometimes You Gotta Make It Alone." There's also a touchingly heartfelt cover of Cyndi Lauper's "Time After Time," and less often heard '80s standouts from Yaz ("Only You") and Alphaville ("Forever Young"). With its movie quotes, endearing score (including Swihart's version of "The A-Team Theme"), and well-chosen musical cues, Napoleon Dynamite is a comprehensive keepsake of a film likely destined for cult favorite status.
 
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Various Artists - Spider‐Man: Music From & Inspired By (2002)

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Country: U.S.A.
Genre: Alternative Rock, Post Grunge, Film Score
Label Number: CK 86402
 
© 2002 Columbia/Roadrunner/Island Def Jam/Sony Music Soundtrax
 From all accounts, Sam Raimi invested Spider-Man with some of his own personality -- lobbying for the great, geeky Tobey Maguire to play Peter Parker and giving the visuals a crackling energy equally reminiscent of his own work on Evil Dead and Darkman and the original Marvel comic books. That's very good, especially since studios are notoriously reluctant to let directors imprint their own signature on tent-pole pictures like this and, given the choice between having the picture or the soundtrack for Spider-Man have distinctive personality, the movie should have a personality since it is a movie, after all, and the ultimate concern. Still, it's a disappointment that the soundtrack to Spider-Man is so calculated, pitched directly at the nü-metal/rap-rock/post-grunge crowd with little regard for flair or personality. Almost none of the songs on the soundtrack are heard in the movie -- Macy Gray's "My Nutmeg Phantasy" is put to the forefront once, but most of these songs are heard either way in the background on the radio or over the closing credits. This isn't unusual for soundtracks of this nature, but sometimes the "inspired by" soundtracks have some spark, most notably with Prince's songs for Batman. Though many of the bands do try to tie into the theme of Spider-Man -- Alien Ant Farm has "Bug Bytes," Chad Kroeger of Nickelback offers the dour anthem of "Hero" -- it all winds up as something that sounds crafted for modern rock radio, not the movie, especially since it lacks both the colorful zest of the film's design or the geekiness of Peter Parker. Some songs distinguish themselves along the way -- the Hives display why they're rightly touted as an antidote to generic modern rock with "Hate to Say I Told You So," the Strokes toss in their B-side worthy "When It Started," and Pete Yorn gives listeners his gentle "Undercover" -- but on the whole, it's a pretty undistinguished affair, topped off by an awful version of the classic "Theme From Spider-Man" from Aerosmith, who treats it as serious heavy psych-rock. At least when that's finished, you can begin the disc again and hear the original theme, which sounds much livelier and is more fun -- and, after all these years, still feels appropriate for Spider-Man, even in Raimi's version (there's a reason why he put it over the end credits of the film, after all). 
 
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May 30, 2025

Various Artists - Navy Seals - Original Motion Picture Soundtrack (1990)

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Country: U.S.A.
Genre: Hard Rock, Pop Rock, Rock
Label Number: 7 82125-2
 
© 1990 Atlantic Records
*No professional reviews are available for this release.
 
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Brad Fiedel/Various Artists - True Lies: Music From The Motion Picture (1994)

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Country: U.S.A.
Genre: Funk Metal, Grunge, Rock, Film Score
Label Number: EK 64437
 
© 1994 Epic Soundtrax
The most notable song on this soundtrack album is Living Colour's remake of Cream's late 1960s hard rock classic "Sunshine Of Your Love," which is heard in two different mixes. But primarily, the album consists of Brad Fiedel's orchestral score to the Arnold Schwarzenegger action picture, which is characteristically bombastic and portentous.
 
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Various Artists - Strange Days: Music From The Motion Picture (1995)

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Country: U.S.A.
Genre: Alternative Rock, Trip-Hop, New Age
Label Number: EK 67226
 
© 1995 Epic Soundtrax
The soundtrack to the apocalyptic thriller Strange Days gathers a bevy of alternative rock acts, most better-known for critical kudos than their commercial clout, meaning that it's a treat for true music fans but of little interest to casual listeners. Kicking things off with politico-rockers Skunk Anansie and lead singer Skin's corrosive vocals on "Selling Jesus" (the act also contributes "Feed"), the album is aggressive and chaotic, capturing the film's tense, end-of-the-millennium setting. Highlights include Tricky's loping, hypnotic "Overcome"; Dream Academy alumnus Kate Gibson's lovely reading of Leonard Cohen's "Dance Me to the End of Love"; and Satchel's skittish "Walk in Freedom." There's also the odd-couple pairing of Prong and Ray Manzarek breathing new life into the venerable, classic "Strange Days," and a fiery performance by folk-rapper Me Phi Me on "hereWEcome." Of interest to completists will be Peter Gabriel (with Deep Forest) doing "While the Earth Sleeps," and the curious will want to check out actress Juliette Lewis' passable performance on "Hardly Wait." 
 
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May 29, 2025

Various Artists - The Very Best of MTV Unplugged 3 (2004)

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Country: U.S.A.
Genre: Acoustic Rock
Label Number: 982 397-1
 
© 2004 MTV Music Television/Universal
*No professional reviews are available for this release. 
 
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Various Artists - Resident Evil: Apocalypse (Music From & Inspired By The Original Motion Picture) (2004)

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*European pressing. 
Contains 18 tracks total.
 
Country: U.S.A.
Genre: Metalcore, Industrial, Gothic Metal, Groove Metal, Post Grunge, Gothic Rock
Label Number: RR 8230-2
 
© 2004 Roadrunner Records
Resident Evil: Apocalypse cows predictably to the film's target audience, unleashing a torrent of teenage boy-friendly alt metal. As a moneymaker, it's unscrupulous. And yet the aggression, mania, and generally apocalyptic tone of this material fits well with a movie based on a video game about blowing away crazy zombies. The usual suspects populate dark corners, including professional scary guys like Slipknot and Rammstein, as well as middling work from types like the Used and Cold. But there are also previously unreleased remixes from A Perfect Circle ("Outsider") and Rob Zombie ("Girl on Fire"). Underappreciated Italian goth metal outfit Lacuna Coil contributes "Swamped" from their 2002 effort Comalies, and even if Cradle of Filth's "Nymphetamine" is as cheesy and decadent as you'd expect with a name like that, it's bolstered by guest vocals from Leaves' Eyes frontwoman Liv Kristine Espenaes Krull. After all, what horror/actioner would be complete without a Krull reference? Other notable inclusions on Resident Evil: Apocalypse include "Join Me In Death" from Finnish goth poppers H.I.M., Deftones covering Duran Duran's "Chauffeur" quite capably, and a typically chilly trip-hop piece from Massive Attack.
 
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May 28, 2025

Various Artists - The Beach (Motion Picture Soundtrack) (2000)

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Country: U.S.A.
Genre: Electronic, House, Pop Rock, Trance
Label Number: 4344 31079 2
 
© 2000 London Records
Like the soundtracks for Danny Boyle's other films, the music collected for his adaptation of Alex Garland's novel The Beach is a hip mix of British and American rock and electronica. Asian Dub Foundation's "Return of Django," Moby's "Porcelain," Leftfield's "Snake Blood," and the Hardfloor remix of Mory Kante's "Yeke Yeke" are among the album's electronic highlights, while Blur's "On Your Own (Crouch End Broadway Mix)" and New Order's "Brutal" add a touch of British pop to the set. "Business as Usual" is a collaboration between Barry Adamson (whose albums seem more filmic than most scores) and the film's star, Leonardo DiCaprio; composer Angelo Badalamenti and Orbital collaborate on "Orbital Mix." All Saints and Sugar Ray contribute the previously unreleased tracks "Pure Shores" and "Spinning Away," respectively, making The Beach an entertaining, if somewhat scattered, collection of music featured in the film.
 
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Various Artists - Not Another Teen Movie: Music From The Motion Picture (2001)

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Country: U.S.A.
Genre: Industrial, Post Grunge, Alternative Rock, Alternative Metal
Label Number: 9 48250-2
 
© 2001 Maverick
Keeping with the theme of the film NOT ANOTHER TEEN MOVIE and its relentless parodying of teen movies from the preceding two decades, the accompanying soundtrack ups the ante with '80s classics covered by '90s alt-rock acts. Depeche Mode and New Order fare best as Smashing Pumpkins ("Never Let Me Down Again") and Scott Weiland ("But Not Again") tackle DM while Orgy ("Blue Monday") and Stabbing Westward ("Bizarre Love Triangle") pump the decibels up for New Order. One-hit wonders also get the nod, whether it's Teutonic popster Nena (Goldfinger's ska-driven "99 Red Balloons"), Brits Modern English (Mest's staccato "I Melt With You") or Soft Cell (Marilyn Manson's eerie "Tainted Love").

Elsewhere, Saliva interprets The Pretenders ("Message Of Love"), Good Charlotte puts a punk-pop spin on OMD ("If You Leave") and Muse pays homage to the Smiths ("Please, Please, Please Let Me Get What I Want"). The quintessential nod to teen pop culture comes via Phantom Planet (featuring RUSHMORE's Jason Schwartzman) serving up a harmony-drenched version of Jackson Browne's "Somebody's Baby" (originally recorded for the Fast Times At Ridgemont High soundtrack).
 
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May 27, 2025

Various Artists - The Cave (Soundtrack Album) (2005)

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Country: U.S.A.
Genre: Metalcore, Symphonic Metal, Groove Metal, Nü-Metal
Label Number: LKS 33816
 
© 2005 Lakeshore Records
*No professional reviews are available for this release

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Various Artists - The Twilight Saga: Breaking Dawn - Part 2 (Original Motion Picture Soundtrack) (2012)

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Country: U.S.A.
Genre: Alternative Rock, Electronic, Indie Pop, Pop Rock
Label Number: 531748-2
 
© 2012 Summit/Chop Shop Records
Since Breaking Dawn is the final installment of the Twilight Saga, it's fitting that the film's soundtrack is dominated by ballads that feel like a long goodbye to Bella, Edward, and Jacob. Despite opening with Passion Pit's relatively cheery "Where I Come From" -- one of the more overt nods to the series' mostly happy ending -- songs such as Pop Etc.'s "Speak Up" and Iko's "Heart of Stone" define The Twilight Saga: Breaking Dawn's music with their breathy harmonies, spare instrumentation, and ultra-earnest tone. The set sometimes threatens to become too maudlin and monotonous, but Ellie Goulding's "Bittersweet" and Feist's "Fire in the Water" add a spark of creativity to the proceedings. Likewise, St. Vincent's mischievous "The Antidote," which isn't just the most straightforwardly rock song here, but also a good deal heavier than anything on her previous album, Strange Mercy, provides enough playfully sinister vibes to remind everyone that this is a film about vampires. Interestingly, Breaking Dawn is less star-studded than some of the previous Twilight Saga soundtracks, with the notable exception of Green Day, whose "The Forgotten" sounds a bit like an Americanized version of Oasis' "Don't Look Back in Anger." As with the other volumes of the series' music, however, this collection provides a surprisingly good showcase for female, indie-ish talent (though Reeve Carney's "New for You" and James Vincent McMorrow's "Ghosts" close the gender gap somewhat). While Breaking Dawn isn't one of the more dynamic Twilight Saga soundtracks, it is one of the more emotive ones, and just may help fans get some closure as one of the biggest film franchises of the 2000s and 2010s comes to a close.
 
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May 26, 2025

Convulse - Reflections (1994)

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Country: Finland
Language: English
Genre:Death Metal
Label Number: NB 114-2
 
© 1994 Nuclear Blast
*No professional reviews are available for this release.

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Various Artists - Armageddon: The Album (1998)

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Country: U.S.A.
Genre: Hard Rock, Progressive Rock, Pop Rock
Label Number: CK 69440
 
© 1998 Columbia
A would-be blockbuster soundtrack for a would-be blockbuster, Armageddon is a strange album, as far as carefully tailored soundtracks go. Sometime during production, Columbia evidently bet that Aerosmith, whom they recently acquired for millions of dollars, would be a big draw. That was before Nine Lives bombed and the group lost much of their teen following. Nevertheless, the album features no less than four Aerosmith tunes, including the singles "I Don't Want to Miss a Thing" and "What Kind of Love Are You On," both of which are pretty standard latter-day Aerosmith songs that are outclassed not only by "Sweet Emotion," but even their hamfisted cover of "Come Together." Those four songs provide the core of an album that is clearly aimed at a "mature" audience -- well, with new songs from Shawn Colvin, Patty Smyth, Jon Bon Jovi, Trevor Rabin, and Journey (complete with new vocalist Steve Augeri), plus oldies by ZZ Top and Bob Seger, the album was never really intended for a young audience. Of course, stumbling post-grungsters Our Lady Peace and fledgling folk chanteuse Chantal Kreviazuk are added as attractions for younger audiences, but they don't add much to the stodgiest "event movie" soundtrack in memory. And that's really too bad, because if there's one audience that buys into event movies, it's adolescents -- and, for all of its many flaws, Godzilla at least knew that much.
 
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Various Artists - Saw (Original Motion Picture Soundtrack) (2004)

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Country: U.S.A.
Genre: Electronic, Industrial, Film Score
Label Number: KOC-CD-9653
 
© 2004 Koch Records
Charlie Clouser's inky score anchors the soundtrack for Saw, 2004's somewhat unlikely horror hit. It's no surprise that industrial is the muse for Clouser, particularly outfits like Front Line Assembly (the churning, electronics-addled "Sturm") and Fear Factory ("Bite the Hand That Bleeds," which dovetails eerily into the film's plot). Saw, after all, is a twisty cinematic mindwarp of mysterious chambers, ugly mechanical implements, and dares to the death. There's also the soundtrack's brutal cover art, a human head strapped into a spiked mess of harness and sprocket. Clouser, the alt-metal remixer and occasional NIN bandmember, really nails it with his creaky, clammy score. "Cigarette," "Hello, Adam," and particularly "F**k This S*!t" blend chilling sounds with harsh percussion and deep-wound keyboard stabs; Clouser understands that Saw's horror only works with a heady amount of camp, and he draws from industrial music in the same way. When his music is over the top, it's riffing on the wannabe fearsomeness of so many contemporary industrial groups. Of course, in Saw, Clouser's tracks accompany some truly gruesome sights, so he's the winner.
 
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May 25, 2025

Pale Saints - Slow Buildings (1994)

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Country: United Kingdom
Genre: Shoegaze
Label Number: 9 45625-2
 
© 1994 4AD/Warner Bros. Records
A letdown can still be a strong record. Pale Saints' second LP In Ribbons (1992) was an instantly memorable gilded masterwork, as texturally splendid as it was jarring and creative. But then enigmatic singer Ian Masters walked, taking his songwriting and bass playing with him, as evidenced by his moody and momentous LP Spoonfed Hybrid. Slow Buildings is nonetheless proof that Pale Saints were wise to carry on with Meriel Barham stepping up to full-time vocalist and former Heart Throbs member Colleen Browne joining on bass. No question, Masters is missed. There's nothing here as starkly beautiful as "A Thousand Stars Burst Open," as breathtaking as "Hunted," as pulverizing as "Throwing Back the Apple," or as enveloping as the last four songs on The Comforts of Madness, Pale Saints' 1990 debut. And some of the songs on this album's last half fail to maintain the first half's compelling quality -- perhaps some of the 57 minutes could have been cut, though none of it is bad. However, the single "Fine Friend" is almost as entrancing and pretty as Mazzy Star's "Fade Into You" (to which it's often compared), as is the similar "One Blue Hill." The less manic Breeders fire of "Angel (Will You Be My?)" and "Under Your Nose" are nice and pointed, and best of all, the opening instrumental "King Fade" continues the band's fascinating ability to capture a disjointed, off-kilter, and dazzling "sea of sound." Hugh Jones shows again why he's one of the best producers of the '80s/'90s; his bass/drums mixes are impeccable, and he captures the sharpest guitar sounds known to man. (Guitarist Graeme Naysmith is a perfect foil; check out the detonations in the hypnotic "Henry.") Stripped of Masters' pop sense, these melodic lines are far more subtle, so more effort is required to get into Slow Buildings. Indeed, everything here does build slowly.
 
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Souled American - Frozen (1994)

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Country: U.S.A.
Genre: Alternative Country
Label Number: Moll7/EFA 12107
 
© 1994 Moll Tonträger
Maybe it's the way Joe Adducci's bass "lines" (for they are much, much less -- yet much, much more) hang in the night air. Perhaps it's guitarist/vocalist Chris Grigoroff's unearthly drawl extended -- usually painfully -- between sparse elements that are strangely reminiscent of folk songs. No matter what the reason, Frozen is simply one of the most appropriately titled collections of songs you'll likely lay ears on. This is the sound of country music moving like molasses in February -- or, rather, it's the sound of a band observing molasses in February and setting those observations to music. Souled American recorded this record (originally released in 1994 on the German label Moll) after the departure of its drummer and the remaining members' conscious choice to not replace him. Elemental to the extreme, the guitar, banjo, bass guitar, harmonica, and pedal steel are nearly stripped of their cultural musical associations and given a new sonic lease on life. The country twang in Grigoroff's voice (which often takes on the most heartbreaking Brian Wilson-esque falsetto) is so incongruous to the nearly ambient, sparsely textural guitar and bass sounds that are the framework for these songs, that one is forced to stop for just a moment more to reconcile the guitar sounds and patterns with anything resembling country or folk -- but it's there. Frozen is gorgeous if you give it enough time to chill you to the bone.
 
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Bal-Sagoth - A Black Moon Broods Over Lemuria (1995)

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*First pressing. 
Contains 9 tracks total.
Country: United Kingdom
Genre: Black Metal
Style: Symphonic Black Metal
Label Number: NIHIL 4CD
 
© 1995 Cacophonous Records
*No professional reviews are available for this release. 

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Bal-Sagoth - The Power Cosmic (1999)

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Country: United Kingdom
Genre: Black Metal
Style: Symphonic Black Metal
Label Number: 27361 64212
 
© 1999 Nuclear Blast Records
On The Power Cosmic, their first album to be released domestically in the U.S. since their recording career began in 1995, English death-metallers Bal Sagoth blend the cruel symphonic elegance of Scandinavian black metal with fantasy/sci-fi-obsessed lyrics and the chilling Gothic overtones of countrymen Cradle of Filth. It all makes for a pretty original sound within the group's chosen genre, and a fine entry point for American audiences.
 
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Bal-Sagoth - The Chthonic Chronicles (2006)

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Country: United Kingdom
Genre: Black Metal
Style: Symphonic Black Metal
Label Number: CDL0302CD
 
© 2006 Candlelight Records USA
From emo to post-grunge to screamo, introspection has been a prime ingredient of so much of the post-Nevermind alternative rock of the '90s and 2000s. But one area of post-'80s rock where introspection does not prevail is black metal. With their corpse makeup, shock rock theatricality and odes to the Occult or paganism, black metal bands often provide big doses of fantasy and escapism for the folks in the mosh pit, and fantasy-based escapism is exactly what one will find on Bal-Sagoth's The Chthonic Chronicles. This elaborate, highly conceptual effort isn't the least bit introspective; combining black metal with elements of power metal and progressive rock, The Chthonic Chronicles underscores the ambitious nature of the symphonic black metal style. But while other symphonic black metal discs are obsessed with the Occult and satanic themes, The Chthonic Chronicles has more of a sci-fi outlook. If black metal (like death metal) often functions as the metal equivalent of a horror movie, this album has more in common with Buck Rogers in the 25th Century or the Star Wars movies. Some black metal purists have argued that Bal-Sagoth's work is too prog for its own good, but then, an album like The Chthonic Chronicles was not recorded with black metal purists in mind. Forceful yet melodic, complex and intricate, this CD is not for those who believe that only the harshest, most extreme black metal bands have validity. But someone who is broad-minded enough to enjoy Dream Theater, Queensrÿche, and Rush as much as they enjoy Cradle of Filth and Dark Funeral will find The Chthonic Chronicles to be an excellent addition to Bal-Sagoth's catalog.
 
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