"Karma Slave," by Splashdown is my personal favorite simply because they sing in Sanskrit. Listening to the CD, I also got the sense that none of these artists were taking themselves very seriously, and as a result, a lot of the angst that weighs down much of the post-modern gen-x music scene isn't there, which in my opinion is a good thing. This was one of the few movies I've seen where the pop songs picked actually work in the film, and progress the plot. The Urge's "It's My Turn to Fly," plays as Cale gets to fly a starship for the first time. Electrasy's "Cosmic Castaway" plays over scenes of Cale working at a space dock, struggling to get by among aliens who don't exactly respect him. In fact, the music weds with the story better that most any other film I've seen. Believing that this "acoustic" thing is just a fad, these artists go in with guitars blazing, and their high-powered compositions complement the movie's several actions scenes perfectly. A compilation of songs by just-east-of-mainstream artists such as Lit and The Urge is unexpected for a space opera, but it works.
Luscious jackson down to earth movie#
(Personally, I'm of the opinion that everything written in the last four thousand years of civilization is formulaic to one extent or another, but that's another matter for another time.) Overall, though, it was a fun ride, and fun seems to be what the makers of the movie intended.
Granted, there were plot holes big enough to fly a starship through, and most critics did find the movie a touch formulaic. is most remarkable for it's use of computer animation alongside traditional cell animation, which produced some truly remarkable and beautiful visuals. On his journey, Cale will have to overcome the ever-menacing Drej, betrayal, and his own anger. His father genetically encoded a map in the palm of Cale's hand that shows the way to the Titan, a massive spaceship that is the human race's last hope for survival. tells the story of how Cale discovers he's the key to humanity's future. In a universe where humans are second-class citizens of the galaxy, he's had fifteen years to become angry and bitter. During the evacuation of the planet, five-year-old Cale Tucker was separated from his father, whom he hasn't seen since. The Earth has been destroyed by a hostile alien race known as the Drej. Other highlights include the electric/acoustic ?Christine?, which is sparked by a killer chorus and a cool combination of Schellenbach's restless percussion with Daniel Lanois' lazy-styled slide guitar the wild ?Sexy Hypnotist,? which sounds like it somehow should have worked its way into the latest Austin Powers film and the red-hot rockin' ?Devotion,? which is again driven by Schellenbach, whose beat-blasting credentials date back to her days as the first drummer for the Beastie Boys.It's a thousand years from now.
Playful and provocative, and packed with wickedly delectable tunes, Electric Honey kicks off with the dance-propelled funk of ?Nervous Breakthrough? and slides right into the electronic-laced standout single ?Ladyfingers.? Jill Cunniff, Gabby Glaser, and Kate Schellenbach have exquisitely melded their early 1980s punk roots with a healthy dose of hip-hop grooves, girl-group pop and alt-rock overtones for a wondrous pastiche. Trimmed down to a trio since the departure of keyboardist Vivian Trimble, Luscious Jackson's third full-length album is the most fully realized of its career. Updated Febru| Infoplease Staff Electric Honey