Word: soundtracking
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...with Sasha both at their monthly co-residency at New York's Twilo club and on their successful mix albums Renaissance and Northern Exposure. As a solo artist, he's fared just as well. Under the Bedrock recording name, he released "For What You Dream Of" from the Trainspotting soundtrack and "Heaven Scent," both of which were hit singles in the U.K., while his mix albums under the Global Underground label were both commercial and critical successes...
...find the next bubblegum sensation after losing his job. His creation, 2gether, brings together the five crucial ingredients for "Larger Than Life" success: "the heartthrob," "the rebel," "the cutie," "the shy one" and the not so attractive "older brother." I just got my hands on a copy of the soundtrack to the documentary and I'm just starting to realize how earth-shattering this whole thing might be. Every song is a razor-sharp collection of patented boy-band fluff--down to the "Oh babys" and the "Oooh yeahs"; if girls watch this thing or even listen...
Rarely does a movie soundtrack focus on a single artist. Simon and Garfunkel's work on The Graduate is one of the few that come to mind. Former Bostonian Aimee Mann takes on the task with nine tracks for Paul Thomas Anderson's Magnolia. Why Aimee Mann? According to his liner notes, Anderson, a friend of Mann, felt that she "is the great articulator of the biggest things we think about." On the Magnolia soundtrack, Mann's songwriting cuts to the core of human emotion, exploring the intricacies of love and pain with a catchy quality that locks the songs...
...album's haunting first single, "Save Me," ponders emotional rescue, with Mann begging to be liberated from "the ranks of the freaks who suspect they can never love anyone." Mann's folk-pop provides an appropriate backdrop for her deep, probing lyrics. The soundtrack also contains two gems from Supertramp, a flashback to the early '90s with Gabrielle's "Dreams," and the movie's instrumental theme by Jon Brion. But, in the end, it is Mann's work that carries this disc to greatness. Anderson's movie has quite a task in living up to the expectations created by this...
...last year's Three Kings, a playful capacity for invention and experimentation that includes shooting a small turn-of-the-century sequence with an antique hand-cranked Pathe camera. The narrator's chronicle of "strange things told" includes this pseudo-historical footage, and it, like the '70s-colored soundtrack, serves to heighten the sense of presence and periodicity in the film and to underscore the weight the past bears on the present. The mantra that "we may be through with the past, but the past ain't through with us" certainly resonates with this idea, and we hear it muttered...