Heavy Light was produced by Remy, who also co-wrote the album with Basia Bulat and Rich Morel to develop the set of songs conceived as a balance between orchestral percussion (as richly arranged by percussionist Ed Squires) and the human voice (conducted by Kritty Uranowski). The resulting album finds Remy casting herself as lead voice among a harmonious multitude, the singers of which lend not only their voices but also share reflections on childhood experiences that are collaged into moving spoken-word interludes throughout the album. The album was mixed by long-time collaborators Maximilian ‘Twig’ Turnbull, Steve Chahley and Tony Price.Just as goth hit the mainstream, translated as eyeliner-OD’ing pasty translucent sausage embracing the cheapest stereotypes Hot Topic could churn, The Crow soundtrack arrived, providing a leaping point for suburban darkness to achieve a bit of cultural relevance. You’ve got Nine Inch Nails covering Joy Division as The Cure delivers a haunting opener, with strong showings from Rage Against the Machine, Pantera, and a never-better Stone Temple Pilots. The incredible soundtrack to Cameron Crowe’s 1992 grunge classic Singles perfectly captured the early ’90s grunge moment with true respect. Original Chris Cornell compositions, the debut of Pearl Jam’s wildly intense side, as well as perfect songs from Alice In Chains, the Smashing Pumpkins, Jimi Hendrix and more. Juno made constellation connections between the Moldy Peaches and Sonic Youth, Belle & Sebastian and Cat Power. Capped by an infuriatingly cute version of “Anyone Else But You” by Michael Cera and Ellen Page, the record is damn near perfect.Ĭurse you, Zach Braff. The soundtrack to the “Scrubs” star’s quirktastic semi-autobiographical film was the conception of the hipster universe, which arrived long before hipsters were an official thing. If bummed out dudes moping through 10th grade poetry class homework is your thing, you were born for this record. The Shins, Iron and Wine, Coldplay, Nick Drake, Colin Hay, and yet more Shins populate the tracklist. Sure, Run-DMC and Aerosmith made a song together, and Public Enemy’s “Bring The Noise” with Anthrax was positively fire, but the Judgment Night soundtrack was another beast entirely.
Prior to this collection of tracks intentionally clashing styles, nobody had attempted a full-scale all-star album-length collision of rap and rock. While the downside is the rap-rocking abominations of Limp Bizkit and beyond that it spawned, it was a perfect storm of songs that souldn’t – and often didn’t – work, but at points it was a wild dose of peculiar genius. Sure, the 1993 B-movie featuring Emilio Estevez and Cuba Gooding, Jr.
Was a total mess, but this meeting of Pearl Jam and Cypress Hill, Helmet and House of Pain, Living Colour and Run DMC and so on is an unforgettable ride through the oddities of the ‘90s.
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