Producers include: Bewlay Bros, Brian Eno, Daniel Lanois, Andrew Weatherall, Stephen Street.

From a movie (and book) in which music (among other things) plays a crucial role in the everyday lives of the characters, TRAINSPOTTING is less the soundtrack for a movie and more the soundtrack for a way of life. The music mirrors the movie's many moods, from the sweet melancholy of Lou Reed's "Perfect Day," to the surrealistic horror of Underworld's epic "Born Slippy," to the trippy soundscapes of Brian Eno's "Deep Blue Day" and Leftfield's "A Final Hit."

The movie has generated as much controversy as it has accolades, and the soundtrack stands as a fair musical representation of all the reasons why: drugs (with their offered dichotomy of pleasure and pain), love of music itself and a certain pop-culture obsession. With a cohesive combination of old and new, of rock and techno, TRAINSPOTTING is a perfect musical dose. To be taken aurally.

What the critics say...

Entertainment Weekly (10/12/01, p.30) - Ranked #17 in EW's "100 Best Movie Soundtracks"
Entertainment Weekly (7/26/96, pp.52-54) - "...The...TRAINSPOTTING album is like one long, druggy crawl through the U.K. underground, taking in subterranean techno and dance music (Bedrock featuring KYO, Underworld, Leftfield) and the pop daydreams of bands like Pulp and Blur. It's SATURDAY NIGHT FEVER for the Ecstasy generation..." - Rating: A
New York Times (Publisher) (8/6/96, p.C13) - "To conjure a druggy, risky urban netherworld, the songs heard in TRAINSPOTTING link the 1970's and the 1990's via dance rhythms and a sense of decay....It's unusually coherent for a soundtrack album."