Changing Lanes [Original Motion Picture Soundtrack]
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Category: Music CD
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CD Details
Composer: David ArnoldEdition: Music CD
Format: Soundtrack
CD Release Date: 2002-04-30
Music Label: Varese Sarabande
Soundtracks:
- Changing Lanes
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Music reviews of Changing Lanes [Original Motion Picture Soundtrack]
Music Review: Refreshing
Rating: 4 Stars
Most people purchase pop music; I purchase film score soundtracks. Arnold's score captivated me upon first watching the actual film "Changing Lanes," particularly the opening theme, with its electronic minor chord motifs surrounded by heavy techno-percussive rhythms. I found this CD interesting in its format as well, as the songs are really just one long track split up as if they were chapters of a DVD.Because the sound volume varies quite a bit from track to track, it may be difficult to listen to this CD while concentrating on something else, such as homework, and hence, the four- star rating instead of five- occurs. However, if you could care less about homework, like me, and actually plan to listen to this CD fully at any one sitting, than this CD is more of a "CD nouveau," worthy of five stars. Truly innovative.
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Description of Changing Lanes [Original Motion Picture Soundtrack]
Those who've spent inordinately large parts of their commuting on America's bustling thoroughfares could appreciate the premise: a traffic accident intersects two lives, with fate taking darker turns when responsibility is not heeded and vengeance consumes them both. Composer David Arnold, who spent his formative years on the fringes of British punk and then composing for British TV, provides a techno-infused sonic panorama here that is the film's urban soundscape as well as its troubled moral compass. Tossing aside the largely slavish adherence to tradition he displayed on previous scores for director Roland Emmerich's big-budget popcorn films like Stargate and Godzilla, Arnold employs a file full of slick club beats, metallic samples, and percussive interludes--crucially fusing them to a real orchestra as the score builds--to paint a picture about two lives who are more in conflict with themselves than they are with each other. It's that sense of techno-impressionism that drives this richly atmospheric--and decidedly nontraditional--modern score. While it doesn't always approach Tom Newman's almost preternatural sense of the aurally organic, that's the league Arnold's playing in here. --Jerry McCulleyPop CDs
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