This is a downbeat and brainy set of mostly instrumental tracks from the likes of Kronos Quartet, ECM guitarist Terje Rypdal, guitarist Michael Brook, and Lisa (Dead Can Dance) Gerrard. Highlights include "Always Forever N... more »ow" by Passengers (Brian Eno, U2), and Moby's mordant cover of Joy Division's "New Dawn Fades." --Jeff Bateman« less
This is a downbeat and brainy set of mostly instrumental tracks from the likes of Kronos Quartet, ECM guitarist Terje Rypdal, guitarist Michael Brook, and Lisa (Dead Can Dance) Gerrard. Highlights include "Always Forever Now" by Passengers (Brian Eno, U2), and Moby's mordant cover of Joy Division's "New Dawn Fades." --Jeff Bateman
Laurie B. from SEASIDE, CA Reviewed on 7/31/2012...
Great soundtrack , highly recommend it.
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The Best Soundtrack I've Ever Heard.
Erik R. Olson | Dublin, CA, United States | 11/27/2003
(5 out of 5 stars)
"Period.It helps, of course, to be deeply in love with the movie too -- as I am. When I first saw Heat in December of 1995, and sat through the closing credits scored by Moby's "God Moving Over The Face Of The Waters," I knew I had to own the soundtrack. Knew it. The music was so deeply emotional, so heavy with sorrow at times and uplifting on the closing track, that I had no other choice.Kronos Quartet's title track soothes my being from the very first note. The strings are so warm and personal, so richly laden with a tranquility that brings me peace even when I've had a miserable day. I feel like I am capable of anything when I hear these notes. The music shifts at about 2:25 to a more industrial, aggro sound, but the change is not at all jarring or unnatural. An absolutely amazing intro to the soundtrack."Always Forever Now" is a fast-paced, entrancing, bass-heavy, uplifting piece, and I see no reason to gripe about the minor differences between this version and that found on the Passengers' album. "Condensers" is built around the most mournful guitar piece I have ever heard. A beautiful, emotional piece of music.
Terje Rypdal's jazz/blues guitar contributions, "Last Nite" and "Mystery Man," are every bit as strong, capturing Neil and Eady's relationship in dark, moody, intense instrumentals.Michael Brooks' "Ultramarine" is one of the less brooding pieces, and I believe it was used to great effect in the scene outside the restaurant, when Vincent and his crew watch Neil's gang for the first time from the top of a building."Of Helplessness" is probably the saddest piece of music on the album -- and that's saying something. Only strings here, used in a scene I don't want to spoil for those readers who have not yet seen Heat. But it conveys precisely why Vincent is the kind of detective he is; he sees so much human misery in any given day, so much pain, that it's all he can do to bottle it and let it fuel him in pursuit of his suspects. Track eleven, Moby's cover of "New Dawn Fades," is best heard on a dark summer night in a very fast car on a wide open freeway. That's how it is used in the movie, and it's hard to imagine it any other way. It has a sense of danger, pursuit, and above all, speed. I have not heard the Joy Division version of this song, but I have a hard time imagining it would be this powerful. A song you'll never forget."Force Marker," the Brian Eno industrial synth track, is fast, tense, and repetitive. It suits the bank scene perfectly, but might be a little grating in other contexts.The two Lisa Gerrard tracks, "La Bas" and "Gloradin," are moving, somber, dark pieces of music. Hearing these two tracks will make you think your best friend just died. Not the sort of thing you always want to listen to, but they certainly fit some moods."Run Uphill," a very pretty strings and guitars piece, fits this soundtrack nicely. However, it is not the actual piece of music used in the film during that scene. What I am remembering in the movie is not anywhere on the soundtrack, but it would be certainly welcome here. One of the few "if only"s I can think of for the whole thing."Predator Diorama" is aptly named; here we are in the tense, adrenaline-filled world of Neil McCauley in the last few minutes of the movie. If you've seen Heat, and remember the movie well enough to associate this track with the scene it represents, then this piece will be a deeply gratifying experience when you're in a vindictive and wrathful mood.Like the movie, the soundtrack concludes with Moby's "God Moving Over The Face Of The Waters." It's a remarkably simple tune, but also deeply, almost religiously affecting. It consists of a twinkling piano pattern, like rainfall or sunlight, against the backdrop of soaring strings and crashing cymbals. Yet another tune that is impossible to forget. Occasionally it can almost move me to tears. I know that it lacks the bridge found in the movie, but I think that was a device inserted for purposes specific to the movie (the bridge hits right when the screen goes black to credits) and therefore I cannot object to its absence here. This version is just as strong without that change.Of the tracks I did not specifically mention, only Einsturzende Neubauten's "Armenia" is out of place; this track is used only briefly in the movie, and the screaming is really quite ugly.This is more than just a soundtrack. This is a cohesive, dark, moving tapestry of sound that transcends the whole notion of "music from a movie." It's an album of its own. This is a stirring 21-track CD, beautiful in the context of the movie or completely by itself. I would buy this CD again even if the replacement cost me fifty bucks. A must-have."
(mostly) highs and (a few) lows
Reg Primrose | Peebles | 02/03/2000
(4 out of 5 stars)
"The breezy, sprawling strings that open (what I will call, as it has 3 distinct parts, but is only listed as one track) Kronos Quartet's Heat suite as we watch the train pull into the station, rates as my all time favourite movie opening. For me it remains awesome (in the true sense of the word) every time I see it. This soundtrack goes on to beautifully punctuate Michael Mann's masterpiece. But it also stands on it's own as an album. Mann has a very keen sense of the way music and pictures can work together, and in Heat, everything falls gorgeously intro place.However, I have 2 gripes about this soundtrack, pedantic as they may be - First, The version (on my disc, at any rate) of Moby's 'God Moving Over the Face of the Waters' is NOT the version heard in the film, and is missing a vital bridge that the film's climax hinges on! That REALLY annoys me - if I buy 'music from the motion picture', that is what I damn well expect to get! (if you want a better version, get Moby's album 'I Like to Score', but that version doesn't sound as 'big' so you never get the real thing, if you know what I mean). Secondly, for such a major and (what they must have known was going to be) historic production, the sleeve design seems uncaringly slapped together and lame. I would love to see this redesigned and reassembled by someone who cares. I realise it's not a major seller, but maybe for some anniversary re-release with the movie it would be nice to see such a fine film getting all the treatment it deserves even if it is only for the more passionate collectors."
A great soundtrack album.
Ilker Yucel | Annapolis, MD United States | 09/17/2003
(5 out of 5 stars)
""Heat" was one of the most exceptional and underrated crime-dramas I'd ever seen. rarely do I love a movie so much after the first viewing, but "Heat" really grabbed me with the great characters, great storytelling, great production, and great music. Michael Mann has always been known for choosing great music for his films, and "Heat" is no exception. An assortment of diverse artists, plus a tense and moving score by Elliot Goldenthal (with a little help from the Kronos Quartet) make for one of the finest collections of music I've ever heard.The orchestral pieces, like "Heat," "Refinery Surveillance," "Entrada & Shootout," "Oh Helplessness," and "Fate Scrapes" all begin very calmly and beautiful, soothing swirls of strings that steadily build up to a tense and sometimes violent climax. Augmented by occasional the occasional cry of guitars, one can feel the heat around the corner just listening to the music, it really gives that feeling the movie gave and puts those images in your head. "Condensers" and "Run UpHill" are a pair of wonderfully emotional guitar pieces (the CD credits Page Hamilton on guitars...I wonder if it's the same Page Hamilton from Helmet), soaring screams that harken back to Mann's days directing "Miami Vice," but without that '80's flair. There is a saddening melody at the end of "Run UpHill" that resonates throughout "OF Separation," mirroring the Robert DeNiro's character's need for escape after being backed into a corner. "Predator Diorama" is just tense all the way through, ending loudly and climactically, appropriate to its scene in the movie when DeNiro kills the traitor. "Steel Cello Lament" reminds me of "Seiun," the Kitaro piece Mann used in "Manhunter," very similar in sound and feel. "Coffee Shop," as short as it is, is a beautiful piano piece underlying the famous meeting between DeNiro and Al Pacino (both their characters and the actors).As for the other artists on this album, it was rather interesting to hear them all together in a single narrative. The song "Always Forever Now" by U2/Brian Eno (albeit a different version that the one featured on their "Passengers" album), while heard briefly in the movie, is very rhythmic, helping to give a sense of Al Pacino's character, always moving, always on the go. Brian Eno's other contribution, "Force Marker," for all its simplicity really gives you the feel of the movie. Used in the bank heist, it's just tense tense tense, all the way through. "Last Nite" and "Mystery Man" by Terje Rypdal are sweet ambient guitar songs, a sort of sad blues-jazz for DeNiro's romantic situation in the movie. Moby's cover of Joy Division's "New Dawn Fades" really fits well in both the movie and the scope of Michael Mann's films. The soaring guitar lines are reminiscent of Craig Safran's "Confrontation" (from "Thief") and Michel Rubini's "Graham's Theme" (from "Manhunter"), that tense melody that is both uplifting and suspensful at the same time. "Ultramarine" by Michael Brook is a great ambient bass & guitar song, giving a sweet romantic edge to an otherwise dark soundtrack. The two Lisa Gerrard songs, "La Bas" and "Gloradin" are good ambient additions. Her voice is always a treat to hear, full of all sorts of Middle-Eastern undertones that just provide a good atmosphere. Einstürzende Neubauten's "Armenia" seems a bit out of place, but I suspect that has to do with the vocals. It might've been better to include it as an instrumental remix, then it would have fit...otherwise, the vocals just make the song frightening and unwelcome. Finally, the best song on the whole soundtrack, Moby's "God Moving Over the Face of the Waters." It's a simple repetition of a four-chord string section, with some piano lines underneath. And yet it provides the emotional core of the whole film, used in the finale, and just bringing tears to the eyes with its sadness and intensity. Unfortunately, the mix used on the album is not the one used in the film (which includes a bridge section that brings everything to a beautiful and mournful high). The end of the film would not have been nearly as emotional without this song."Heat" was a great movie, and its soundtrack is just as good. It stands on its own as a good collection of songs strung together to form a single coherent theme, and it's a great complement to the movie. What more could one want out of a soundtrack album? It's got its flaws (what doesn't?), but they are minor enough that they are almost unnoticed. Listen to this album from beginning to end, and even the parts that seem out of place make sense. Definitely one of the best soundtracks ever."