Underworld [Original Soundtrack]

1	Awakening / The Damning Well 4:15
2	Rev 22:20 / Puscifer 4:39
3	Throwing Punches / Page Hamilton 3:42
4	Rocket Collecting / Milla 5:42
5	Now I Know / Renholder 0:57
6	Bring Me the Disco King / Maynard James Keenan Loner Mix 6:06
7	Optimissed / Skinny Puppy 3:49
8	Down in the Lab / Renholder 1:46
9	Judith / A Perfect Circle Renholder Mix 4:23
10	Suicide Note / Johnette Napolitano 5:26
11	Baby's First Coffin / The Dillinger Escape Plan 4:01
12	Hover / Trust Company Quiet Mix 3:10
13	Falling Through the Sky / Renholder 1:01
14	Weak and Powerless / A Perfect Circle Tilling My Grave Mix 3:02
15	Worms of the Earth / Finch 2:35
16	From a Shell / Lisa Germano 2:57
17	Death Dealer's Descent / Renholder 0:55
18	On the Lash / Icarus Line 4:04
19	All of This Past / Sarah Bettens 4:28

Barnes & Noble

The soundtrack to Underworld is inspired by the film's vampire-versus-werewolf tale from the dark side. And thanks in large part to the deft touch of the album's producer, former Nine Inch Nails member Danny Lohner, who's shaken and stirred the components into a compellingly murky sonic cocktail, the rock-fueled disc has its fair share of macabre moments. In a break from recent soundtrack tradition, the bulk of Underworld's tracks aren't available anywhere else -- many, in fact, spring from one-time-only aggregations assembled specifically for the album. Of these, the most interesting may be the Damning Well -- ex–Limp Bizkit guitarist Wes Borland, Filter's Richard Patrick, and Lohner -- who turn out an industrially minded primal scream called "The Awakening." The producer holed up with Maynard James Keenan, under the Puscifer moniker, for the appropriately apocalyptic "REV 22:20." Keenan and Red Hot Chili Peppers guitarist John Frusciante also turn up on a radically splayed rendition of David Bowie's "Bring Me the Disco King," a version far more visceral than the Thin White Duke has been previewing at recent live dates. Likewise, remixes of A Perfect Circle's "Judith" and "Weak and Powerless" turn things upside down, particularly the former, which replaces the original's tension-release seesaw with a seething quality that threatens to boil over but never really does. Consider Underworld the perfect mood music for a cruise down the River Styx. David Sprague

All Music Guide

A fine example of a great soundtrack to a bad movie, the Underworld original motion picture soundtrack is full of so much thematically cohesive music, near incestuous collaborations, and material composed specifically for the disc, it plays almost like a concept album, written within the parameters of rage, sex, melancholy, and fear. Among the more notable tracks are numerous one-minute interludes by Renholder -- a pseudonym used by longtime Nine Inch Nails and A Perfect Circle collaborator Danny Lohner -- whose murky, industrially infused guitar segues help to create smooth transitions between artists and songs. Another gem is "Rev 22:20," a song credited to Puscifer, the recording name for the collaboration of Lohner and Maynard James Keenan. "Rev 22:20" is far from cheap shock rock, despite such sacrilegious lyrics as "Christ is coming/And so am I" -- not a far cry from the words actually found at Revelations, chapter 22, verse 20: "He who testifies to these things says, 'Yes, I am coming soon.'" No Bible passage, however, appears to directly reflect the line "Jesus is risen, it's no surprise/Even he would martyr his momma to ride to hell between those thighs." The messianic subject matter immediately sets the stage for any listener to easily become either enraged or aroused. The song strokes at the audience's guilty excitability and explores the way that Judeo-Christian sensual forbiddance parallels the volatile eroticism of basic sexual frustration. Keenan's presence on the album is as pervasive as Lohner's, coming up again in excellent string-heavy remixes of the A Perfect Circle tunes "Judith" and "Weak and Powerless," as well as singing background vocals on the David Bowie song "Bring Me the Disco King" -- a reflective and sexy track that outshines the original version that appeared on Bowie's 2003 Reality. Appearances by Milla and Sarah Bettens round out the moodier side of the album, while songs like "Baby's First Coffin" by math-metal group the Dillinger Escape Plan inject the disc with a pissed-off energy that saves it from overall goth gloom. Even a track by the borderline laughably self-important industrial act Skinny Puppy is perfectly placed. The Underworld soundtrack's profile took an understandable hit for its involvement with such a cheese-fest of a movie, but it stacks up remarkably well on its own merit. Perhaps the soundtrack alone should be granted a sequel. Cammila Albertson