Avril Lavigne premiered her new song, Alice, that will feature on the soundtrack of Tim Burton’s Alice in Wonderland. Movie and soundtrack, Almost Alice, will be out this March. There is also a video for Lavigne’s song, that we’ll get to see these following weeks. This is the first single off of the soundtrack.
The song, written especially for the movie, reveals a more Alanis Morissette side of the Canadian pop-punk princess, as it is, vocally, based on that strong female type of screaming, uttering lyrics like “I’ll get by, I’ll survive”. The marching beat really sets the song as some kind of anthem and there are plenty of atmospheric synths to suggest the surreal of the story. “This is such a cool project to be a part of”, said the singer-songwriter in a short video also posted on her official website. That’s also the place where you can listen to:
The full tracklisting of Alice in Wonderland‘s soundtrack has been revealed and it seems it will not be just one song and the compulsory Danny Elfman score. Almost Alice will feature an impressive array of indie/alternative goodies and will be out in stores in March. The first confirmed track was the Pete Wentz/Mark Hoppus collaboration, In Transit, but now, it’s obvious that the selection range has widened.
Avril Lavigne’s Alice (Underground) will be the first single from the album, with a video coming in February. Tim Burton’s lifeline in his early days, Robert Smith, is also an interesting surprise — he will be covering the classic Very Good Advice, with Franz Ferdinand adding to the Brit procent with The Lobster Quadrille. Interesting newcomer, Kerli will contribute with two pieces, one alone, one with Tokio Hotel. Owl City will pour some of his electro innocence in the mix, while harder sounds will most likely be provided by Wolfmother and Shinedown. All Time Low, Motion City Soundtrack, Metro Station and The All-American Rejects will also feature. Full tracklisting HERE.
As the image indicates, this review is about the Music from and Inspired by The Jackal soundtrack of the 1997 action thriller, starring Bruce Willis and Richard Gere. This “discrimination” doesn’t mean that the other album, containing Carter Burwell’s score should be disregarded. In fact, some of the tracks from there would fit inconspicuously on this album, Burwell being one of the most versatile film composers of the last two decades. His slick combination of electronica and a traditional score creates the real sonic trademark of the movie. That and, of course, the opening track, Massive Attack’s Superpredators, which sets the tone for the violence that is to follow and creates a memorable title sequence in the process.