In the tradition of future classic Trainspotting, musical sequel The Beach surfs electronic currents, this time with a scent of exoticism.
Taking the same artists for an obligatory commercial success, the heroes of Trainspotting pick up the torch again with original pieces, under director Danny Boyle’s gaze. Leftfield, Underworld, New Order and Blur are rediscovered while Moby, Orbital, and Unkle, and other soundtrack champions join them. Underworld, Trainspotting’s catalyst with their powerful "Born Slippy" this time plays the minimalist card with a piercing track whose sweetness climbs to finally capture the listener. Leftfield opens the game with techno track with a mysterious harmony. Moby brings one of his classics with finesse on "Porcelain." Unkle stays within its register of lyricism+rhythms while Faithless plunges into rave. Though the Blur remix is one of the most tiresome, New Order is back with their successful formula: high pitched bass, light guitars, and catchy melodies. Also noteworthy is the presence of All Saints for a Madonna cloning. "Pure Shores" can easily be mistaken for "Substitute for Love"; though it’s worth noting that it was written and produced by William Orbit.
Outside of being familiar territory, The Beach’s principal difference with Trainspotting resides in the exoticism brought by some world music tracks, whereas before those tracks would have been alternative songs. Besides the ragga waves of Asian Dub Foundation, it’s especially the beauty of the shimmering "Voices" by Dario G & Vanessa Quinones with its Celtic folk that will leave a mark. The only genuine torture is the presence of "Yeke Yeke" by Mory Kante, which if it already wasn’t bad enough is remixed by the decidedly lazy Hardfloor, who does everything he did four years ago for the Depeche Mode’s "It’s No Good" remix. The only American touch (along with Leo!!) is the presence of Sugar Ray with a nice enough pop song. To finish the album couldn’t end better with "Beached" fruit of the collaboration between Orbital and Angelo Badalamenti and the high point of this soundtrack. Imagine the marriage of Orbital’s tone with the strangely Twin Peaksian world of the musical alter ego of David Lynch; like coming full circle with Moby’s "Go". The tides have turned; instead of Moby sampling Badalamenti, we now see Badalamenti using Orbital. Di Caprio’s words only reinforce the ensemble. The only regret is the absence of Vast, whose song was used efficiently in the trailer (as in waiting for The Beach 2...hmm.).
More than a soundtrack effectively supporting a film, The Beach is an album that successfully stands alone.
