Issue #41: Natural Born Killers OST

Released:  August 23rd, 1994

Genre:  Various, including rock, metal, country, and hip-hop

Record Label:  Nothing / Interscope

Duration:  75:22

Producer:  Trent Reznor

Track Listing

Why the Natural Born Killers OST is One of My Favorites

Warning:  If you haven’t seen Natural Born Killers, and plan on doing so, you may want to skip this article.  I will be discussing the soundtrack with regards to the plot, and some details may be given away.  Furthermore, having an understanding of this film will be helpful in understanding just why this record is one of my favorites since I feel the appeal goes beyond a mere compilation of great songs.

Of all the soundtracks in the world, most are vague snapshots of some niche of popular music that will presumably be in line with the tastes of the audience who watches the movie.  Comedies get lighthearted rock songs, romances earn the softer, slower side of pop, horror movies typically take hard rock and metal, and urban tales showcase hip-hop while rural stories often feature soundtracks with country and pop crossovers.  However, the Natural Born Killers Original Soundtrack (OST) does something completely different: it summarizes the movie through music.  Oliver Stone brought on Trent Reznor to produce the soundtrack, and Reznor, at the peak of his creative genius in 1994, made this a soundtrack to remember by combining the commercial appeal of a soundtrack with a film score’s ability to re-tell the narrative.

Many songs are marked with “Edit,” but this doesn’t mean that they’re censored.  Instead, they’ve been altered by adding in sound clips from the movie, generally from the same part of the film were the song is originally heard.  The soundtrack is as manic and as wild as the film itself, using different genres to convey emotions and moods.  Purists may not be fond of the sound bytes, but that’s kind of what ties the eclectic collection together.

Highlights include the “Beep beep!” of the officer in “Shitlist” just before we’re introduced to Mickey and Mallory’s homicidal tendencies, their (psychotic) declaration of love for each other near the end of Dylan’s “You Belong to Me,” and Mickey preparing for the riot in “Forkboy.”  Music plays a big role in the surrealism of the film, and Reznor tries to recreate this feeling at every turn.  There’s Mal’s “poetry” in “Sweet Jane,” “Back in Baby’s Arms” during their joyride, and Cohen’s eeriely placed “The Future” as we see the couple living “happily ever after” with an RV full of kids.

I had wanted to run through the soundtrack and the film point by point, but to do so would be tedious.  What’s important is that this isn’t a bunch of songs slapped together, but a continuous work of art in its own regard that acts as more than the sum of its parts.  I’m not above popping it in and listening to “Burn” or “What Would U Do?” or “Rock N Roll Nigger” on its own, though the true effect is achieved when it’s played and contemplated as a complete and singular piece of work.

As I said in my introduction to Volume 2, one of the great things about soundtracks was that they often acted as a source for discovering new bands similar to bands one already likes.  Natural Born Killers hit theaters in 1994, although I didn’t actually see it until probably about 1997.  This was a time when my musical tastes were rapidly expanding, and on the strength of this OST I purchased albums from both Lard and L7.  My most enduring discovery was that of Leonard Cohen; one of my favorite songs of his, “Anthem,” is featured in the film but not on the soundtrack.  It turned out that my mom had some old records of Cohen’s tucked away, and ever since then, I’ve sporadically dabbled in his cryptic brand of drearily hymnal folk music.

It’s difficult to describe how well Reznor’s soundtrack lines up with the madness of the film.  There’s love, social commentary, the role of the media, and all sorts of themes wrapped up in the film that make subtle appearances on the record.  The early to mid 90’s saw the peak of America’s fascination with serial killers, and the Natural Born Killers OST captures the essence quite well with its darkly eccentric blend of music, who’s individual themes are often subverted to illustrate a more perverse and depraved side of society.  This record is easily the most artistic approach I’ve ever heard when it comes to soundtracks, and if anything, shows us how lazy virtually ever other soundtrack producer is when it comes to pushing the limits of the form.  Then again, soundtracks have always been a marginally disposable commodity, but that doesn’t mean that they can’t strive to be more.

Written by The Cubist

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Written by The Cubist

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Find out what these ratings mean and how I rate video games.

I collect as much video gaming paraphernalia as I can get my hands on, especially when it comes to hardware. With over 40 systems including oldies like the ColecoVision and Intellivision, obscurities like the CD-i and 3DO, and the latest and greatest including the Wii U, PS4, Xbox One, 3DS, and PS Vita, I get easily overwhelmed. Most of the time you can find me firmly nestled sometime between 1985 and 1995 when it comes to my games of choice, but I’m also having a great time seeing what the 8th generation has to offer.

Currently in love with: Mortal Kombat

Email me anytime, about anything: thecubist@butthole.nerdbacon.com