marcusaurelius's Full Review: Romeo + Juliet by Original Soundtrack
[NOTE: This (moderately edited) review first appeared on the now-defunct WrittenByMe.com but has been transplanted here in the hope that it will perhaps inspire some dear soul to pick up this decidedly idiosyncratic album.]
If you’re like me, then you’ve seen, experienced, and greatly enjoyed Baz Luhrmann’s ludicrous movie rendition of Shakespeare's play Romeo and Juliet. His movie is nothing if not utterly insane, and its representative soundtrack is readily reflective of this eccentricity. I purchased it about a week ago and received it in the mail just two or three days ago. Since then, I’ve been lavishing myself with the music from Romeo + Juliet for the majority of the time since then. And so far, you know what? I've genuinely enjoyed it.
The soundtrack starts off with one of the most off-kilter love ballads i've ever heard. It's entitled “Number One Crush” and is performed by the Scottish band Garbage (the name fortunately not being indicative of their melodo-harmonic capabilities). But boy does it ever have some odd harmonies. Even though this song is clearly about love (of a sort), it sounds more akin to Hole hybridized with Marilyn Manson and then mated with The Smashing Pumpkins. Certainly the most goth-influenced track on the album, it showcases vocals that sound as if the lead singer, Shirley Manson, is a little on the disturbed side. Nevertheless, it certainly conveys the notion of eternal love -- even if it may seem to be more like the love a vampire has for blood than the love two star-crossed lovers would share for one another.
Following “Number One Crush” is probably the rockin'-est song on the album, entitled “Local God”, by Everclear. Fresh and energetic from beginning to end, it aptly conveys the attitudes of the Montague and Capulet gangs (as portrayed in the film). Everclear manage to keep it distinctly rebellious and punk-driven throughout. Through the course of the track, harmonic progression is obviously not on the list of Everclear's to-do list. But despite this, “Local God” grabs one's attention and maintains it from beginning to end -- primarily by constantly shoving its fist up in one's face, yelling that they's gonna do whatever the hell they want.
The fourth track on the album is the song heard at the very beginning of Romeo + Juliet, being entitled “Pretty Piece of Flesh”. It showcases a now-more-oftenly-heard (think Linkin Park) but-then-rather-unique amalgam of industrialesque guitar grindings and electronic distortion with some decent rapping, performed by the massively-popular and utterly original band One Inch Punch. (sarcasm intended) It's so original in fact that one could almost mistake the jam for some of Nine Inch Nails’s earliest work. But the lead singer's decidedly nasal vocals rule that out from the get-go. Still, it’s got a good beat and manages to avoid the ever-undesirable dilemma of outstaying its welcome. Though I must say that it only manages this by a hair -- or perhaps in this case, by a pretty piece of flesh.
Next comes the poignant love song that accompanies Romeo and Juliet’s first encounter at the masked ball. “Kissing You”, as it's called, is performed by the previously-unknown-to-me Des’ree. A gentle piano and strings harmony floats ephemerally in the background as Des’ree’s throaty vibrato soars up and down to the song’s bittersweet melody. I’ve never heard of this artist prior to my encounter with her music on this album; but she almost convinces me that I should have heard of her by now, what with the rich and full voice she so masterfully utilizes. This is undoubtedly one of the more memorable songs on this outlandish soundtrack.
Roughly contrasting the heartfelt emotion of the previous track, “Whatever” by Butthole Surfers returns to the rough-around-edges style of the other, harder-hitting selections on the album. It starts out deceptively quiet, making one think that this will perhaps be a more sedate experience than it turns out to be. The haunting choir that accompanies so many of the other songs on this album makes a return appearance here that lends “Whatever” an aural richness and spatial expansiveness not typical of many rock songs. It never really takes off the same way “Local God” or even “Pretty Piece of Flesh” manage it. But it nevertheless revels in its own sort of underplayed emotion that always keeps things on edge.
Probably the most recognizable song on the Romeo + Juliet soundtrack comes next. "Lovefool” be the title of this track, and The Cardigans perform it. Prior to consuming this album, I had no earthly clue who it was that performed this quite popular and often heard (at least for a while there) single. Using jazzy instrumentation and youngish-sounding vocals from the female lead, the feeling of inexperienced love and impressionable infatuation floats throughout the entirety of this song like a swan down a gently flowing stream with a rainbow overhead and lush foliage on all sides. This is certainly one of the most upbeat songs on the album.
Starting off with a capella and leading into some of the most gorgeous vocal acrobatics on the soundtrack, “Everybody’s Free” by Quindon Tarver brings a reverent feeling to this otherwise generally raucous album. With a gospel choir backing him throughout his foray into stratospheric heights of harmony, Quindon sounds like he just came out a pentecostal prayer meeting, fresh with exuberance and ready to take on the world. His range of vocals is stunning and keeps the Romeo + Juliet soundtrack in a youthful vein.
The 11th song on the album -- “Talk Show Host” by Radiohead -- comes in as an easy second for the "most recognizable track on the album" award. It casts a depressing shadow and revels in the melancholy for which Radiohead are so renowned. There’s an undoubtedly jazzy feeling here yet again; but that feeling most certainly isn’t used to the same effect as it was in “Lovefool”. Thom Yorke’s distinctive mourning voice lends a desperate tone to the song as he croons about lost love in the manner of someone on the verge of a nervous breakdown. Put simply, don't play this for your youngest daughter's sweet sixteen. It just wouldn't be a good thing.
With some of the most enchanting vocals on the Romeo + Juliet soundtrack, Stina Nordenstam paints the perfect innocent portrait of the two star-crossed lovers with her song “Little Star”. It starts with her unaccompanied voice whispering sweet nothings into the listener's ear (or at least, that's what it sounded like to my deaf eardrums) and continues with this pattern till its end. Throughout the song, one gets the feeling that she’s just found insoluble juvenile love and that nothing will ever be able to touch it. (*cough*bullsh!t*cough) Who knows: you might just find your heart melting with this delightful confection. (or not)
The above songs aren’t all the tracks on the Romeo + Juliet soundtrack. But they do nonetheless comprise what I feel are the representative best from the album. This soundtrack is one of the most eclectic CDs that I’ve had the good fortune of purchasing recently and will, I’m sure, occupy a prominent place in my CD collection for at least a week. (Hey, I have a short attention span.) I most assuredly would not recommend it to those who detested Romeo + Juliet, the film. But if you happen to be one of those oddballs like myself who can never get enough of the eclectic and eccentric, then I’d be willing to wager that you’ll find at least one or two gems on this album that will steal your heart.
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