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Late to the party - my feelings on "Lost Highway" soundtrack
The journey on the "Lost Highway" opens and closes with a coherent buckle the poignant "I'm Deranged" by David Bowie, which nativity sets up a duly gloomy language of the compilation and, in the context of reception in relation to the film narrative, very lyrically subjectivises the experience as an eclectic needle-tape ride through the synapses of an anguished brain. In the context of the ending, however, it serves as a kind of coda, supporting the feeling of a closed loop and an inevitable return to the starting point. At the same time, I cannot imagine a more accurate leitmotif for Fred Madison's character. However, the album does not allow for a break, introducing both here and later smooth segregations between the tracks. One of them is a short "Videodrones; Questions" from Trent Reznor, whom we meet twice on the "Lost Highway" without band mates. The second time it is the penultimate "Driver Down", characterized by an exceptionally aggressive electronic and guitar sound, which in the last twenty minutes of the album turns into a crescendo of rage and aesthetic violence. Only at the end, before Bowie returns once again, does Reznor calm the tempo with the sound of the piano and saxophone. Speaking of the band Nine Inch Nails, whose "The Perfect Drug" was placed as the third track on the album, it is worth saying that the song was written especially for the needs of the film, but although it undoubtedly infects with energy, it delicately goes beyond the tonal space of the rest of the compositions and lacks a bit of their imaginativeness and expressive sound. The same problem is brought by "Eye" from The Smashing Pumpkins, which closes page A of the first album. I don't think that my general aversion to both bands contributed to this statement, because for comparison, the German Rammstein, which can be heard on the "Lost Highway" twice (in the songs "Rammstein" and "Heirate Mich"), is probably as far away from my musical preferences as possible, and yet the tracks used make a good or even excellent impression, and what's more, they unwittingly compose with the content of the track. Among the "sung" stops on "Highway", apart from Bowie and Rammstein, Marilyn Manson's compositions also stand out. These include at least the disturbing cover of "I Put A Spell On You", which has less to do with the blues ballad about love and more with the obsessive promise a psychopath could leave on his voice mail.
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