It’s been no secret that I have been dying to get my hands on the Cosmopolis soundtrack ever since it was announced that Metric and Howard Shore were teaming up. I was so excited about Howard Shore’s skill in scoring films, mixed with Metric’s synthetic rock style. They didn’t disappoint and I can’t wait to tell you about it!
A little backstory first. For those of you that aren’t familiar with Metric’s sound, they consider themselves to be a synthetic, indie rock group and hail from Toronto. They were formed in 1998 and consist of Emily Haines, James Shaw, Josh Winstead and Joules Scott-Key. They have four studio albums that ROCK
Howard Shore is also a Canadian musician who has scored all of David Cronenberg’s movies. He is also well known for scoring most of Martin Scorsese’s films as well as the Lord of the Rings movies.
Now, on to the Cosmopolis soundtrack! Admittedly, I wasn’t quite sure what to expect after hearing that Shore and Metric were teaming up. Electronic sound? Is that what will work best with this movie? Will Shore have orchestral accompaniment? Fortunately, I was reminded by Chauffeur Tink about the soundtrack for the movie Drive. The film featured an electric/synthesized score and a collection of vocal songs that sounded like they belonged in an 80′s movie. They were perfect and it made the movie. The sound was sort of an ironic mix for such a dark, gritty and modern film.
This put me in the right mindset because that is exactly what the Cosmopolis soundtrack is going to be. These modern synth tracks combined with Metric’s sort of “ethereal rock” is really going to cement the gap between the constant dialogue, and Cronenberg’s fantastic visuals.
I’ll share my thoughts on a few tracks and leave the rest of the judgement up to you guys!
1. White Limos – This is the first track on the soundtrack and we’ve already seen where it goes in the film in this clip. I’d also like to imagine that this plays into the opening credits a bit (which I am very excited for). Let’s be honest, this first scene is the lightest this movie is going to be, and I think this song reflects that.
2. Asymmetrical – Well, we all know what this title refers to I think this part in the movie is going to be really intense and somewhat hard to watch. Do you remember reading it? Eric getting probed while sexually staring at Jane while she fidgets under his gaze? Can you imagine that on film? This track is a lot darker than the first and will play very well in the claustrophobic setting of the limo in this scene. One thing about Metric that I enjoy is their ‘beats’ and how they slowly build throughout the song. I feel like this is the case for the entire soundtrack, but for this song too. And in this part, we know what it’s building to.
3. I Don’t Want To Wake Up – This is Metric’s second vocal track on the album and I love it. I’m not really sure where it will fit into the movie. It could be the first song that plays in the end credits. This track sort of builds on the beat of White Limos but adds some distorted vocals over the top. When I hear it, I think of Eric and that’s probably exactly what they wanted it to do!
4. Call Me Home – Metric’s final vocal track for the soundtrack and this one is definitely my favorite. This track totally reminds me of the Drive soundtrack and I could easily see this song being the “single” that comes off this album. This is a very mellow, beat driven vocal track that could fit anywhere in the movie. While driving through the city, during his time with any of his ladies or walking away from the park towards the end. You can tell the mood has shifted here. It’s dark, it’s lost, and it’s not upbeat.
5. Mecca – This song isn’t really my style of music but I just have to point out that Don DeLillo worked with K’naan and Shore to create this song from his lyrics. How cool is that? If you’ll remember from the book, this is Brutha Fez’s song that Eric plays in his elevator. Well, one of his elevators, anyway.
6. Benno – The last song I’m going to point out and probably the most complicated of all of them. At 6:52, it gives you an inkling that this could very well last the entire scene with Eric and Benno. It starts out slow and quiet, and doesn’t build until around the 3 minute mark. This is definitely dark, messed up and the end of the road. It manages to be the climax to the score without being an orchestral crescendo. It’s fantastic and brilliant and it’s going to give me the shivers when it plays in Benno’s decrepit apartment.
The soundtrack is slowly becoming available across the world. Here’s when it will be available where you live:
- May 15: France, Italy, Luxemburg, Switzerland, Hungary
- June 4: United Kingdom
- June 5: Canada
- June 7: The Netherlands
- July 6: Germany
- July 10: U.S.A and Rest-of-world
To listen to samples of all of the tracks, visit Howard Shore’s website. The site gives a nice description of the urban, synthetic feel of the album.
The CD booklet has a bunch of visual goodies as well. Here’s what you’ll find inside:
If I’m being honest, compared to the poster and other collateral, the design on the CD booklet is very disappointing. Purple? Over-use of Futura? A little underwhelming if you ask me. But enough of that. Get the soundtrack when you can and imagine Eric bopping around in his limo. Some of us have a little wait before we see the film and this will help ease the gap. Also be sure to check out Metric’s other music, as well as Howard Shore’s work. All wonderful bits of music. Thanks for reading and enjoy!
Images viaFollow @CosmopolisFilm on Twitter and Facebook!