By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
As a movie, The Slaughter Rule made a name for itself in 2002 at festivals, and last month was seen on the Sundance Channel. It's a coming-of-age picture about a teenage football player (Ryan Gosling) in icy Frozen Butt, Montana, and his relationship with a borderline case of a coach (David Morse).
Hence, this desolate soundtrack of roots rock works as the perfect symbiotic score, a marriage of movie and music that pulls country away from its usual trappings and places it back where it belongs, in the spinal fluid of the American Nightmare.
Like most of the stuff on Bloodshot Records, the soundtrack features a variety of alt-cutting edge-countrified-Americannibalized music, an amalgam of cast-iron country and wide-open, gothic, aggressive, soulful, strange, beautiful, funky and fanciful influences.
Bloodshot artists like Neko Case and the Blood Oranges appear, as do pop geniuses the Pernice Brothers, Jimmie Dale Gilmore and his Texas buddies Joe Ely and Butch Hancock (a.k.a. The Flatlanders) and Vic Chesnutt.
Other highlights: Ryan Adams hitchhikes down Dylan's Highway 61 on 2000's "To Be Young (Is to Be Sad, Is to Be High)," Freakwater wades waist deep in the Louvin Brothers' oft-covered classic "When I Stop Dreaming," and the filmmakers even add a goofy South Seas-ish instrumental called "West of Samoa" by brilliant '50s duo Speedy West and Jimmy Bryant. However, Jay Farrar, of Uncle Tupelo and Son Volt, is really the cake beneath the icing on this collection. He composed a series of instrumentals for the film that here run between the other songs.
In the context of this film, there's nothing here that isn't haunting, vaguely unsettling, equal parts toasty hearth and frozen wasteland. It's that rare soundtrack that is wonderful by itself but manages to create an entirely new emotional environment once the movie has faded from memory.