Dance music has provided some memorable film soundtracks over the past ten years. The first one that comes to mind is Trainspotting, providing a huge career boost for Underworld, whilst enhancing the reputations of Leftfield. Include The Beach, Human Traffic and the Matrix trilogy and you get some idea of its place in modern cinema, regardless of the subject matter.
With such a strongly musical subject for a film, the soundtrack assumes even greater importance, the potential for breaking large Balearic anthems obvious. Unfortunately there’s nothing here to rival Born Slippy, which is in part due to the label of release.
In theory Positiva is a great choice; the EMI imprint is clearly on a roll at the moment in the wake of success with Shapeshifters, Deep Dish and Reflekt. That all of them appear here is a shame, as all are tried and tested commercial hits, music the public is already over familiar with. Sure, they sound great in a widescreen environment with the sound cranked up, but put it on your home system and the feeling is more ‘now that’s what I call Positiva’.
That’s not to say the music’s poor, for these are great dance records. But the club mix, entitled ‘Night’ as a counterpart to the ‘Day’ chill out CD preceding it, is a mish-mash that seems unsure which direction to pursue. From commercial house (the newer of the two Shapeshifters tracks) to breaks (Ferry Corsten via Rennie Pilgrem) the mood never quite settles, despite the room made for an underrated club cracker from Trisco towards the end. Even here the order is questionable, as one of the film’s thrilling DJ moments is a mix from Corsten’s Rock Your Body Rock into Trisco’s Musak, but the two are kept well apart here.
This is an admittedly harsh critique, especially as CD one is excellent chill out fare with an imaginative line running through the selections. Graham Massey’s original score drips with Mediterranean warmth, and the choice of material from The Beta Band, The Beach Boys and Penguin Caf� Orchestra is both varied and solid. Moroccan Blonde’s Mirage is an exotic luxury, while Pete Tong himself makes a decent contribution in his Chris Cox collaboration Ku Da Ta.
While I would recommend the film as an enjoyable romp through Ibizan club culture, it’s a bit more difficult to provide an unreserved recommendation for this. Seasoned clubbers will have heard the mix CD before, and it’s a shame Positiva couldn’t get a named DJ, maybe Frankie Wilde himself, in to mix it. If you do go ahead and buy it though, you’ll get an early summer soundtrack in the shape of an exotic after hours collection.