Finally! A film soundtrack to review where I’ve actually seen the associated film. Not that I actually remember it in the slightest.
But the soundtrack begins with a special mix of Elevation by U2, who always leave me with slightly mixed feelings. So this manages to be at the same time both one of their less good tracks and one of their better ones – it’s a good pop song, but ultimately it just falls a bit flat.
Then industrial rockers Nine Inch Nails turn up with Deep, which is probably very fitting, and not entirely unpleasant, but ultimately it’s nothing particularly amazing. Third come The Chemical Brothers, always enjoyable but not always quite as interesting as their reputation might suggest, sounding very like themselves with Galaxy Bounce.
The first half of this CD isn’t unduly interesting – Missy Elliott and Nelly Furtado do their none-too-interesting collaborative version of Get UR Freak On, with a lot of talking, noodling, and general repetition; Outkast turn up for one of their less interesting moments with Speedballin’ and even Moby is far from being at his best with Ain’t Never Learned.
BT picks things up eventually at track seven with The Revolution, which, while it does sound a lot like BT, is at least a good track, and it gets better after that with an exclusive mix of the brilliant – and entirely apt for the Tomb Raider franchise – Terra Firma by Delerium.
If you never saw the slightly disturbing video for Basement Jaxx‘s Where’s Your Head At, then that’s perhaps no bad thing, because it seems to be indelibly marked in my mind now, but the song still sounds good even now, over a decade after its original release. Which is not so true of Fatboy Slim and Bootsie Collins‘s Illuminati, which is a worthy collaboration, but nothing special. The real theme of this album seems to be that artists haven’t had much opportunity to branch out from their typical sound, and this is a typical example.
Surprisingly, though, things really start to pick up towards the end of the album. Fluke‘s Absurd is a surprising and extremely worthwhile inclusion, as is Leftfield‘s fantastic Song of Life, from Leftism. Whoever compiled this collection was clearly keeping all the good stuff for the end.
Groove Armada‘s beautifully chilled out Edge Hill provides further evidence of this, and then I’d never heard Satellite by Bosco before listening to this compilation, but it turned out to be a great track. After that, even Oxide & Neutrino don’t sound too bad – and in fairness to them (I’m not sure why they deserve it), Devil’s Nightmare is probably their least bad moment.
Film soundtracks are, as it turns out, strange beasts, with selected tracks from all over the place which are only really justified in sitting side-by-side because of one particular film. And this soundtrack, while it started off pretty patchy, got extremely good towards the end, so is definitely worth finding the time for.
You can find Tomb Raider – Music from the Motion Picture at all major stores, such as here.