The Strangler's Wife

That Cul de Sac would end up doing a film soundtrack isn't completely surprising, given the band's instrumental bent and past live work playing along with various productions. That it would end up doing a soundtrack for what appears to be an erotic thriller is another story entirely — a thriller produced by Roger Corman at that, which, given some of the leaden music from his '50s and '60s efforts, automatically makes one wonder. But to the band's credit they find a sharp way to apply their sound to another context in enjoyable fashion — if, for instance, Pink Floyd could (and did) something similar in the late '60s, then why not Cul de Sac? The snarling, unsettled murk of the main title sequence works as both moodsetter and statement of intent. When one considers how many soundtracks, especially for low budget films, consist of identical mock-orchestral, or uninspired copies of electronic inspirations, hearing something that is truly ominous and in current context, fairly unique, is a blessing. The band's variety gets a solid showcase throughout the soundtrack — if there are fairly few long tracks due to the inherent nature of the work (only a smattering break, three minutes total, and a number barely crest a minute), it's made up for with the various approached tackled. "That's Great Then, Isn't It?" includes both entrancing acoustic guitar mystery, and a hint of dub echo, "Frustrated Seduction" chugs along in bemusing, almost quirky fashion before suddenly turning into a rush of drum-and-bass rhythms. What parts of the film's plot are suggested by the titles seems well in keeping with the results — "Lovemaking/Mae's Theme" is subtle and tender, while "Tailing the Stranger" infuses a chugging motorik beat with paranoid fear.