Good cd overall… a few songs weren’t on it, like I was expecting, but I figured out one. In the trailer, the prevalent song playing is called “Red Tape” by “Agent Provocateur”. It’s a bit hard to find though. Anyone know what song is playing when she hits lucius with the car?If you liked the movie, you’ll like the soundtrack.
Underworld is one of the most highly anticipated genre films in over a decade. Lakeshore Record’s soundtrack, which features exclusive songs and mixes (both in and inspired by the film), is an unparalleled collection of the best music the contemporary rock world has to offer. The soundtrack album is produced by Danny Lohner of Nine Inch Nails whose unique relationships within the community of A-List talent brings such unprecedented highlights to this project as the first song ever penned by Maynard James Keenan (Tool / A Perfect Circle) for a motion picture and soundtrack album. Also appearing on the album is former Limp Bizkit guitarist Wes Borland who along with Lohner and Filter’s Richard Patrick have created the formidable super group The Damning Well who make their debut on this album with the song ”Awakening.” One look through the album’s track listing and you’ll find contributions from artists as diverse and respected as Trust Co., Finch, Skinny Puppy, Page Hamilton, and David Bowie to name a few. Every track on this album is either written exclusively for this project, or is an exclusive remix, or rare version only available on this release. Underworld, both as a film and an album is a truly unique marrige of artistic sound and vision.
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My primary problem with this soundtrack is that while diversity is good, there’s too much in the way of mediocre pretend-metal making the album a disjointed listen at best. For awhile, there’s a good flow from the aggressive opener (a pretty good effort from Richard Patrick, Wes Borland, Josh Freese, and Danny Lohner), to the no-less-intense but far-calmer “Rev 22:20.” Maynard James Keenan’s voice never ceases to please. Back to the aggression with Page Hamilton, suitably sounding very Helmet-esque, and then back to calm with a song by Milla Jovovich (and a very good one). The short Renholder instrumentals are good fillers that should’ve been longer. They start out very nicely, leading into what could be a great long instrumental…and then it’s over. The David Bowie track with Maynard is great, very mellow, typical of Bowie nowadays and his voice works well with Maynard’s. I don’t see the big deal about John Frusciante though…he’s good, but he’s not THAT good. The new Skinny Puppy song is the real treat…harking back to “The Process,” this is basically OhGr with cEvin Key to liven things up and Ogre’s vocals recall his older more dissonant style. It’s a welcome return to form, and I hope it’s not just a one-shot deal. The remix of A Perfect Circle’s “Judith” is wonderful, substituting the original’s aggression for ambient beauty, and yet still working with Maynard’s angry voice. The new song by APC, “Weak and Powerless” is as good as anything from their first album, and if it’s any indication of what “The Thirteenth Step” sounds like, then that album may very well be among the best releases this year. Johnette Napolitano is amazing, I love her voice. Dillinger Escape Plan I can do without. Just some noise math-rock to keep things different, but…it’s just not welcome to me. Nor is the song by Trust Company, who are highly overrated in my opinion. Same with The Icarus Line and Finch, who I can normally appreciate to some extent, but here…it just feels unnecessary, just to add some noise. The tracks by Lisa Germano and Sarah Bettens are good though, fitting in that ambient-gothic female-vocal style of song that we had with Milla and Johnette. Basically, the album starts strong and then falls flat into territory best left to the nu-metal posers. I think it says something that the first half of the CD is mostly established artists, people who’ve no need to prove themselves, and then halfway through we hear bands who have yet to achieve some level of stature. Not a bad idea to promote a band, but I feel it ruins the flow of the soundtrack. I’m sure the newer kids will love it though, since it seems geared more towards that audience, but I can do without it.
Overall this is a killer soundtrack – however, if you’re looking for the song that is played on all of the previews for underworld and evolution, you won’t find it here…
The song is called red tape by agent provacateur, and you can find it on the underworld motion picture score which is also available here on amazon.
Just to let you all know, the song that plays during Michael’s transformation in the car is called “Coward” by Wes Borland and Danny Lohner. It’s hard to find and only 1:22 seconds long.
Chances are, if you were curious enough to surf over to this page to see about this soundtrack, you should buy it because you’re bound to find something you like on here. Danny Lohner (Nine Inch Nails, A Perfect Circle) spear-headed this project, using his connections to turn out the darkest and possibly most unique compilation of 2003. For fans of Tool/A Perfect Circle frontman Maynard James Keenan, you need this. The infamous frontman makes four scattered appearances here. There are two A Perfect Cirle remixes here for ‘Judith’ and ‘Weak & Powerless.’ The former is a slowed down, moodier peice of work than the original, which benefits from some interesting string arrangements, while the latter is an over-caffeinated reworking that beefs up the power of the original song. Keenan also collaborates with Lohner under the moniker Puscifier on the track ‘REV 22:20.’ This song is a bit different than Keenan’s other work. It’s very stripped down and quiet, yet extremely potent and bruising. And finally, Maynard joins forces with Red Hot Chili Peppers axe-man John Frusciante on a very odd remix of David Bowie’s ‘Bring Me The Disco King.’ Limited-time-only supergroup The Damning Well give the album a nice kick start. Featuring Filter frontman Richard Patrick, Ex-Limp Bizkit guitarist Wes Borland, Lohner & Josh Freese, (now honestly, who HASN’T he played with) ‘Awakening’ is a energetic, albeit bouncy cut (thanks in part to Borland’s style) that turns out really well. It would be nice to hear more collaborations from these guys. Nu-metallers Trustcompany slow it down a bit for the Danny Lonher remix of ‘Hover,’ turning out their best track to date. Featuring violins played by Paz Lechantin (A Perfect Circle/Zwan) this track serves as a highlight of the album, and is the polar opposite of the band’s original version. Finch, however, deliver one of their heaviest tunes with ‘Worms of the Universe.’ The song is quick, to the point and just plain rocks. The Icarus Line, a band who I had never heard until this album surprised me with their own brand of Black Sabbath-esque stoner-rock, and Lisa Germano and Milla bring it down a notch with their hushed, moody songs. Overall, it’s a great soundtrack. It fits the movie very well in the same vein as the original “The Crow” soundtrack. If you like the way the track-listing looks, you really should pick this up.