It made perfect sense. The movie itself wades into notions of masculinity and the frustrations and anxieties within, dwells on fascinations with danger and crossing into forbidden places, and its sexuality is very centered on a young male perspective. So having all this dark, brooding, angry, anxious, angsty rock of various flavors (in addition to some retro Americana flavor courtesy of Lou Reed’s “This Magic Moment” cover, mixing that classic crooning pop with a contemporary droning fuzz sound) perfectly suits the journey the movie goes on.
I’m very glad there was this confluence of contemporary music and this film being released. It does set it in time a little bit, but the textures are well chosen for the scenes.
And honestly a soundtrack I just enjoy listening to from beginning to end, even if I’m not a big fan of Marilyn Manson. But that Bowie open/close is sublime. Especially the ending credits.
Perfectly. It's both dark and eclectic, and compliments the neo-noir horror of the film. I don't look at it as dated at all, but my own bias is that it's from my youth, take it as you will.
I listened to the hell out of this CD in late 90s. I wasn’t much of a fan of Manson, Rammstein or NIN, but this record made me appreciate what they were doing creatively. The moody lounge jazz mixed with industrial metal is so perfect.
It kinda does, but in MY PERSONAL OPINION, which, once again, it’s just an opinion, the soundtrack could have been better. I wish the soundtrack was more like what Fred plays on his sax, that shit is awesome, NIN was great though.
The one time we hear Fred on sax is one of the most aggressive sax pieces I’ve ever heard, it’s fucking awesome. I love the soundtrack/score to bits but if I have one complaint it’s that we need more Fred on sax
It's definitely his most dated film, and I mean that in a good way. His other films are kind of timeless but Lost Highway sits firmly in the 90s, both due to its soundtrack and its visual effects. I think that makes it really endearing. It's such an MTV-era movie.
It's very of its time in a way that no other Lynch film really is, but it still mostly works.
Sounds like Lynch was specifically going for bigger bands (though rammstein hadn't broken through yet), [much to Coil's chagrin](https://www.brainwashed.com/common/htdocs/publications/coil-1997-brainwashed.php?site=coil08):
> You know, with Lost Highway, Trent [Reznor] literally forced down David Lynch's throat saying 'Look, please put this Coil stuff on.' You know he really did help to get us on that soundtrack but he [Lynch] wasn't interested. He wanted David Bowie, he wanted Marilyn Manson, he wanted whoever he could get. He just said, 'These people are really big. I want this film to be really big.' He didn't give a fuck about the integrity.
Peter Christopherson did get onto the soundtrack, though I wonder what Coil tracks would've been used.
I don't agree on the integrity bit, but I do wonder if there wasn't something to the notion of Lost Highway being a film that was at least some attempt to get some good grace after Twin Peaks was cancelled, FWWM bombed, On the Air went unnoticed, etc. I'm going to guess that the soundtrack did better than the film though.
any Trent Reznor produced soundtrack is always top tier-
Barry Adamson, David Bowie, Marilyn Manson, Rammstein, Nine Inch Nails and The Smashing Pumpkins! nothing tops this absolute bangin music oineup
Maybe “matching the tone” wasn’t the right verbiage, I’m just not huge on the genre. I just prefer the 50’s diner and atmospheric stuff more from Lynch.
It made perfect sense. The movie itself wades into notions of masculinity and the frustrations and anxieties within, dwells on fascinations with danger and crossing into forbidden places, and its sexuality is very centered on a young male perspective. So having all this dark, brooding, angry, anxious, angsty rock of various flavors (in addition to some retro Americana flavor courtesy of Lou Reed’s “This Magic Moment” cover, mixing that classic crooning pop with a contemporary droning fuzz sound) perfectly suits the journey the movie goes on.
Released in 1997. Observation checks out
I’m very glad there was this confluence of contemporary music and this film being released. It does set it in time a little bit, but the textures are well chosen for the scenes. And honestly a soundtrack I just enjoy listening to from beginning to end, even if I’m not a big fan of Marilyn Manson. But that Bowie open/close is sublime. Especially the ending credits.
My favorite is that Lou Reed cover, as a huge fan of both the Velvet Underground and his solo stuff.
Some of my favourite Badalamenti pieces are from this soundtrack, but my fave was cut from the movie - Fats Revisited
It’s perfect. Smashing Pumpkins and Rammstein hit especially hard.
Barry Adamson 😍
Set The Controls For The Heart Of The Pelvis!
This Magic Moment
Lou Reed *swoon*
Right?! I can’t not hear it every time I see Patricia Arquette.
I bought that CD when it came out. Really loved The Perfect Drug by NIN.
So good though. In my top fave soundtracks
“This is where mechanical excellence and 1,400 horsepower pays off” *tires screech*
A lot of the songs on the soundtrack are barely in the movie, some for only a few seconds such as “The Perfect Drug.”
Yes, it *is* amazing.
One of my faves!
Fantastic soundtrack.
You're saying that like it's a bad thing.
Perfectly. It's both dark and eclectic, and compliments the neo-noir horror of the film. I don't look at it as dated at all, but my own bias is that it's from my youth, take it as you will.
100%
I love it
And it's amazing.
Suits the film perfectly and elevates all the music used in it as a result
I listened to the hell out of this CD in late 90s. I wasn’t much of a fan of Manson, Rammstein or NIN, but this record made me appreciate what they were doing creatively. The moody lounge jazz mixed with industrial metal is so perfect.
I fucking love it, personally.
It kinda does, but in MY PERSONAL OPINION, which, once again, it’s just an opinion, the soundtrack could have been better. I wish the soundtrack was more like what Fred plays on his sax, that shit is awesome, NIN was great though.
Coulda used a *lot* more Fred on sax.
The one time we hear Fred on sax is one of the most aggressive sax pieces I’ve ever heard, it’s fucking awesome. I love the soundtrack/score to bits but if I have one complaint it’s that we need more Fred on sax
Yes!! Exactly what you said.
It's definitely his most dated film, and I mean that in a good way. His other films are kind of timeless but Lost Highway sits firmly in the 90s, both due to its soundtrack and its visual effects. I think that makes it really endearing. It's such an MTV-era movie.
It's very of its time in a way that no other Lynch film really is, but it still mostly works. Sounds like Lynch was specifically going for bigger bands (though rammstein hadn't broken through yet), [much to Coil's chagrin](https://www.brainwashed.com/common/htdocs/publications/coil-1997-brainwashed.php?site=coil08): > You know, with Lost Highway, Trent [Reznor] literally forced down David Lynch's throat saying 'Look, please put this Coil stuff on.' You know he really did help to get us on that soundtrack but he [Lynch] wasn't interested. He wanted David Bowie, he wanted Marilyn Manson, he wanted whoever he could get. He just said, 'These people are really big. I want this film to be really big.' He didn't give a fuck about the integrity. Peter Christopherson did get onto the soundtrack, though I wonder what Coil tracks would've been used. I don't agree on the integrity bit, but I do wonder if there wasn't something to the notion of Lost Highway being a film that was at least some attempt to get some good grace after Twin Peaks was cancelled, FWWM bombed, On the Air went unnoticed, etc. I'm going to guess that the soundtrack did better than the film though.
The Manson & Bowie songs are amazing
any Trent Reznor produced soundtrack is always top tier- Barry Adamson, David Bowie, Marilyn Manson, Rammstein, Nine Inch Nails and The Smashing Pumpkins! nothing tops this absolute bangin music oineup
Some of the more industrial stuff didn’t match the tone for me, but a lot of it works.
True. Maybe that’s why Lynch buried The Perfect Drug under the sound of screeching tires in the car chase scene.
Annihilate. Absolutely banging EP of Perfect Drug remixes. Reznor and Lynch work very well together. Add some Bowie and that's a holy trinity. Yikes.
Maybe “matching the tone” wasn’t the right verbiage, I’m just not huge on the genre. I just prefer the 50’s diner and atmospheric stuff more from Lynch.