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Albums Turning Twenty II: The Lost Highway Soundtrack

- Saturday, February 18, 2017

3 February: David Bowie – Earthling

18 February: Lost Highway OST

3 March: Ulver – Nattens Madrigal
25 March: GWAR – Carnival Of Chaos
22 April: Ani Difranco – Living In Clip
20 May: Foo Fighters – The Colour And The Shape
30 May: Dimmu Borgir – Enthrone Darkness Triumphant
16 June: Radiohead – OK Computer
8 July: Emperor – Anthems To The Welkin At Dusk
16 August: Mayhem – Deathcrush
30 September: Portishead – Portishead
25 November: nine inch nails – Closure

    The year 1997 was a big one for me both personally and socially. I was deeply involved in music, writing, and the arts, and my personal life was winding up in a crescendo of self-discovery and debauchery. That was twenty years ago and I am writing a little bit about each album on their release dates.

Today, we look at the soundtrack for the film Lost Highway



Lost Highway OST

    The Lost Highway motion picture soundtrack was the second piece of film soundtrack production by Trent Reznor I experienced (the first being Natural Born Killers). The film soundtrack was an interesting thing in the 1990s, a promotional tool for bands and vice versa, using popular acts to promote a film. Where that was an exception was in the soundtrack work of Reznor. Compiled for this film, he pieced together a journey of music as dark, demented, and disorienting as the film itself, a perfect compliment. Featured at the start (and reprised at the end) is I’m Deranged by David Bowie (you may remember the inimitable Mr. Bowie from our last entry — this was a good year). Coming after is a frequent occurrence on this soundtrack, an interluding instrumental/atmosphere piece by Reznor himself, Videodrones; Questions. These pieces of sound sit between the collection of songs like a corridor between experiences. Next is the first single from the soundtrack, the closure-point of Reznor’s band Nine Inch Nails’s industrial period, The Perfect Drug. Following that is a recurring artist on the collection, soundtrack composer demigod Angelo Badalamenti. After this first trip, we are treated to Eye, The Smashing Pumpkins’s first foray into electronic music that would come to heavily define the remainder of their career. After more from Mr. Badalamenti, we embark on a winding path through powerful works by Barry Adamson, a Lou Reed classic, arguably the best song from and capstone of Marilyn Manson’s Antichrist Svperstar period Apple Of Sodom, some disarmingly relaxing muzak from Antonio Carlos Jobim, and two hammering early pieces of Rammstein mastery before closing down with another Reznor instrumental and the Bowie reprise. All in all, The Lost Highway is one powerful and unavoidably potent collection of music.

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