Top 5 Records w/ Chicks Who Love Guns

Chicks Who Love Guns have a band name that both references a relatively obscure old movie, and an indicator that their sound is probably going to explode in your face like a Jack in the Box packed with dynamite. They’ve just released a killer new single that’ll shred you to pieces harder than the tree shredder in Fargo. It’s called ‘In The Deep End’, but it more closely resembles being chucked off a cliff (in a good way).

On the topic of their name, it refers to a scene in the criminally underrated ‘Jackie Brown’ by Quentin Tarantino, when old mates Robert De Niro and Samuel L. Jackson watch a bunch of bikini clad models try and sell machine guns.

Since CWLG are top blokes and they obviously have a good taste in music and movies, they wrote down their Top 5 Movie Soundtracks for us. Cheers!

XAVIER: BLADE RUNNER


Overall my favourite Soundtrack would have to be Vangelis’s score to ‘Bladerunner’. I think it can hard to separate an instrumental soundtrack from its visual context but Vangelis does an amazing job  of  both capturing and  accentuating the emotional tone of the whole film as well as just being an amazing piece of standalone music. Last year I also got to see this soundtrack being performed by a full orchestra at the Sydney Opera house whilst I was mega blazed and needless to say that shit was mind blowing and definitely cemented this soundtrack as awesome in my brain.

 

MITCHELL: SUSPIRIA

Suspiria is my favourite Dario Argento film, he often works with a band called Goblin. Their score for Suspira is bodacious, this track specifically is very haunting and builds into this fucked up all out jam. The start reminds me of what could be an intro to a black metal album or something.

 

CASS: FRIDAY

I picked up the Friday soundtrack for a couple bucks at a record store in Tokyo. Not thinking much of it at the time, I now realise how sweet of a random purchase it was. Lots of great mid-90s hip hop in the vein of Ice Cube and Dre but the real gems are tracks like Super Hoes by Funkdoobiest (A song about fictional characters getting up to hood shit “Cyclops, Wolverine and The Nightcrawler, went to a bar yo they had dollars, rolled an impala hittin all switches while Richie Rich Riches, pulls all the bitches”) there’s also this killer old sappy soul song called I Wanna Get Next To You by Rose Royce. There’s the Isley Brothers and Bootsy Collins, but my favourite track off this delicious soundtrack is Mary Jane by Rick James. I’ve been on a huge Rick James tip since the first time I spun side C of this record – did you know that J.Lo took the vocal melody from Rick for the Ja Rule song “I’m Real” ?  Well, now ya know.

 

MODY: TWIN PEAKS

From the opening instrumental of the Twin Peaks theme, right through to the theme again with Julee Cruise’s accompanied haunting vocals, this whole soundtrack is killer. I’m a big fan of all of Angelo Badalmenti’s film scores, but this one in particular is flawless. With jazz-style tracks that feature smooth double-bass lines, snare brushing and sax combinations, contrasted then with brooding organ and pan-flute dynamics, it is as a whole fairly mellow, yet totally unnerving. The TV series only provides you with snippets, but when listening to the tracks in full you get taken to some pretty weird places. At times the eeriness of it all corners you somewhere in a dark forest Laura Palmer style, while at other times it makes you want to moonwalk in slow-mo and click at attractive people.

 

JACK: DRIVE


So, I had a bit of a hard time picking a favourite soundtrack. After a while of thinking about it I decided to go with maybe, a more recent favourite than an all-time. A choice I’m verrry ok with though. The Drive soundtrack is awash with tasty synth oriented, moody pop tunes. A lot of people are pretty aware of the first track off the CD ‘Nightcall’ by Kavinsky which is undoubtably awesome, but is still just a piece of what makes this whole soundtrack so great. Setting the pace, the soundtrack glues the whole film together with it’s cohesiveness. These carefully picked tracks are what make Drive so dark and transient. Eerie while soft and affectionate. Different to most of the other tunes on there, this one still stands as one of my favourites.

 

 

 

 

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