Adolescence is tough enough without discovering you are—probably?—predestined to act as the time-traveling hand of God. Whether Donnie is a mentally-ill schizo-depressive who mythopoetically justifies his own nullification as a righteous sacrifice to save the lives of those he loves or One genuinely blessed with rare supernatural insight into usually cryptic truths of our universe, Richard Kelly's deployment of the divinely mystical "For Whom the Bell Tolls" by Steve Baker and Carmen Daye into a movie already stacked with instantly recognizable pop hits (not to mention its own excellent original score) complicates the soundscape noticeably and in so doing provides one of the movie's greatest emotional moments. Equally at home behind a Halloween ghost story or in an Easter mass, the track is a chillingly appropriate soundtrack for Donnie's attendance to the local cinema's Evil Dead / Last Temptation of Christ double-feature, yet the remarkable cue was never released on the film's original soundtrack in the US, in spite of its emminence in the powerful cult-hit.
Here's hoping your Halloween proves less complicated than Donnie's. Enjoy!
What you are listening to:
(1) "For Whom the Bell Tolls" by Steve Baker and Carmen Daye
Music can be one of cinema's great pleasures. When used with inspiration—not dictating our viewing experience with a death grip or slathered like bad wallpaper over the rest of a sound mix—it can transform either solitary shots or spliced sequences of moving images into entirely new expressions, galvanizing details within the raw cinematographic material or contrapuntally complicating the initial impressions of the image.
Given our love for movie music in all its forms, whether a soundtrack features original orchestral compositions, near-abstract soundscapes, or acts as a curatorial force for collecting, exposing and (re-) contextualizing existent music, Lost Sounds and Soundtracks will serve to highlight some of our favorites, obscure and not so obscure, commercially available and ripped directly from audio-tracks where necessary. Unless analyzed within their original context, all will be divorced from their image-tracks in hopes that we might briefly give them their singular due.