Projects such as
Frank Black's soundtrack for ‘20s silent movie The Golem show that film soundtracks by indie artists are becoming more commonplace, but
the Real Tuesday Weld -- aka
Stephen Coates -- goes one better with
The Last Werewolf, the musical accompaniment to
Glen Duncan's book of the same name. This is
Coates' second collaboration with
Duncan; the first,
I, Lucifer, provided music to the writer’s tale of the Devil’s return to Earth. It felt more insular than this set of songs, which chronicles a suicidal 200-year-old werewolf.
The Last Werewolf is virtually a full-fledged rock opera, with
Coates bringing along an inspired cast of collaborators, including
Marcella Puppini and the rest of
the Puppini Sisters, who add to “The Hunt”’s breathless cabaret whimsy, and
Pinkie Maclure, whose smoky alto makes “Save Me” a torch song so convincing it’ll give listeners déjà vu. However,
Coates himself is
The Last Werewolf's most varied player, swinging from “Wolfman”’s feral blues stomp to “(I Always Kill) The Things I Love”’s genteel croon to “Tear Us Apart”’s heartbroken synth pop with ease.
Coates' finesse with styles as far-flung as electronic pop and ‘30s cabaret makes him the perfect artist to breathe musical life into a creature as changeable as a werewolf, something he does with extra poignancy on “Come Around” and his duet with
Piney Gir, “Me and Mr. Wolf.” Bold, sensitive, and evocative, this collaboration is another triumph for
Duncan and
Coates.