There are irony-drenched "Oklahoma!"-style ensemble numbers like "Mountain Town" (put down for its "white-bread, redneck" ambiance) and a "Les Miz"-style "La Resistance," as well as the hilarious "Blame Canada" (payback for all the cultural guilt attached to "South Park," violent video games and rock and rap music). But there is also a sensitive side to the music, mostly written by Trey Parker, with some help from Marc Shaiman: emotionally tortured Satan, the Dark Prince, belting "Up There" (where he belongs?) and sounding like a mix of the Phantoms of Andrew Lloyd Webber and Paul Williams; Saddam Hussein tremblingly promising "I Can Change"; Stan, Kyle and Eric (Clapton) wondering, "What Would Brian Boitano Do?"; an overly sincere Michael McDonald moaning a mock-theme, "Eyes of a Child."
"The Blair Witch Project: Josh's Blair Witch Mix" (Chapter III Records). If a chilling movie can be made from footage supposedly discovered by accident, why not a soundtrack taken from a mix tape found in the abandoned car that took the unfortunate filmmakers to the edge of the woods that supposedly swallowed them up? Except for one brief early scene, there is no score or background music in "The Blair Witch Project," meaning the doors are wide open here. So what's on Josh's mix tape? Spooky, scary campfire songs by Lydia Lunch ("Gloomy Sunday") and the Creatures ("Don't Go to Sleep Without Me"); Skinny Puppy's disconcerting "Draining Faces," itself a mix of found sounds, samples and electronica; portentously gloomy tracks like Laibach's "God Is God" and Type O Negative's overly expansive "Haunted"; and sound samples from the film itself, including Antonio Cora's closing credit construction, "The Cellar." Bonus: The CD has an enhanced component featuring exclusive footage not seen in the film.
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