Speaking of which, I think it’s time to finally bring her up. There are a few exceptions to this, however, such as the upbeat electronic rock of “Blimp,” or the guitar-centric alternative rock stylings of “Experiment of Love,” and these do a good job of expanding the band’s range a bit - particularly the singing. “Arabesque” is a perfect opener to express this, as it finds the group channeling a low-key version of what Bjork put out in the 90s (think “Unravel” or “Possibly Maybe”) and maintaining a steady, dreamlike pace. In other words, you’re not going to find a huge display of energy or theatrics here. If I had to describe Breathe as a whole, it’s basically dream pop with dashes of indie pop, ambient music, ethereal wave, and trip hop. The song from Kill Bill, while being the most stripped-down song on offer, is still a great introduction to the band’s work because of its laid-back yet highly emotional approach it’s a nice way to bring people to a record that’s so steeped in atmosphere and ambience. However, when separated from the movie, it’s still extremely impressive.
Having seen the film, I can say Breathe was a wonderful collection of songs to accompany such a dramatic and artful flick. This record takes quite a while to really get going, but that’s because it lets the listener bask in its vast, expansive atmosphere. But, with that said, what does this say about the group’s only studio album Breathe?Įssentially, Breathe operates as both a fitting soundtrack and an incredible standalone album. Believe me, it was pretty damn confusing the first time I was trying to figure this whole thing out. Basically, in the fictional universe of the film, the band takes on the form of this one singer, and in real life, they’re actually a legit band. So, is Lily Chou-Chou a band or a fictional singer? Well, depending on the context… both. Get this: Lily Chou-Chou didn’t even start out as a band, but rather a fictional character that was devised for a feature film called All About Lily Chou-Chou - directed by Shunji Iwai - in which various high school students’ lives are affected and changed by the music of this titular singer. In fact, I don’t believe I’ve ever seen a case like this before (except maybe Spinal Tap, although not comedic). The haunting female vocals and keyboard backing are a perfect accompaniment to The Bride walking slowly and taking in wide assortment of katanas in her presence.Īnd yet, Kill Bill is not the only film that Lily Chou-Chou have been attached to.
The song itself, “Healing Wounds,” is an incredibly atmospheric ambient piece that matches the quiet and reverent tone of the scene beautifully. In fact, the song was used during perhaps the most pivotal scene in the entire movie: the moment The Bride (aka Beatrix Kiddo) meets legendary swordsmith Hattori Hanzo to request her very own blade to exact revenge on her enemies. However, the band I’d like to bring up today still remains largely unknown despite being featured on one of Tarantino’s most popular soundtracks, Kill Bill Vol. Or, in the case of Urge Overkill, giving a struggling band a hit song. Once in a while, he’ll bring out a popular tune like Nancy Sinatra’s cover of “Bang Bang” or Dusty Springfield’s “Son of a Preacher Man,” but more often than not, he shines a light on artists that would otherwise have gotten lost in the ether long ago. You’ve gotta give credit to Quentin Tarantino for filling his soundtracks with some of the most obscure and out-of-left-field music around. Review Summary: Sit back and enjoy the view