Crash: Original Motion Picture Soundtrack
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Crash by Howard Shore
Howard Shore's music for Crash is among those truly rare times when a film composer and his subject matter achieve optimum intercourse. Every electrified guitar wail and steely screech, every wistful woodwind and haunting harp, and each melancholic violin conspire to provide a soundtrack perfectly suited for, yet independent from, its movie. Shore no doubt adds a darkly romantic logic to David Cronenberg's screen adaptation of J.G. Ballard's literary meditation on the eroticism of car crashes. Instead of being obvious or trendy (e.g., songs by the Crash Test Dummies), he opts for a singular combination of electronic overlapping and echo delays that are both metallic and oddly melodic. Highly Recommended. --Joseph Lanza
Top Customer Reviews
J.D. Ballard collides with cult filmmaker Crownenberg, deftly misses formulaic score treatment. While Howard Shore is clearly a peer among such names as, Jerry Goldsmith, John Williams, Henry Mancini, et,al. this was work that demanded outside-the-box artistic independence in line with the material and the genre.
Rather than boring us with gratuitous gimmickry, we got a synthesis of music, sound and cinema... it was hard to tell them all apart! No formula, no cliches. It was difficult to tell where the foley artist left off and where the score picked up and vice-versa! Ambient, subsonic washes contrasted metallic guitar sections that would build and crescendo... VERY HYPNOTIC!!! Even sparser tracks would feel like a haunting grind calling from some some dark place within.
The compositions are in thematic lockstep with the various acts while any one of the tracks could act as a primer for the entire score. The timbral nuances become even more complex upon each listening, I found myself rediscovering both an underrated film and an outstanding score.
Disturbing and seductive at the same time.
Even listening to the score a decade after viewing the film brought it all back, not by mere association, but by essence, sense of place. A moody, melancholy that washes over you leaving an uncomfortable dissonance of humans interfacing with steel.
Sounds like art to me.
Even if you don't feel comfortable with the genre or subject matter of the film, I would highly suggest this CD to fans of Brian Eno or anybody interested in experimental music such as musique concrete.
The scary part is this score passed my rush-hour drive test, anything that takes me away from that passes.