I am not one for the religious devil-inside-a-young-girl movies like "Stigmata" and "The Excorcist," although I did love "Rosemary's Baby," but I always enjoy a quality soundtrack with a dark devil-inside-a-young-girl theme. That works for me, especially when it includes songs by Bjork, David Bowie, Sinead O'Connor, Massive Attack, and other talented musicians eager to share their dark side. An original feature included on the second half of this soundtrack is the film's score composed by Billy Corgan and Mike Garson. Corgan and Garson also penned the song "Identity" sung by the surprisingly low key Natalie Imbruglia.

There is a dark undercurrent running ominously throughout this soundtrack which I'm sure mirrors the devilish themes of the movie, but using myself as an example, I can attest that you don't have to see the film to enjoy and appreciate these songs and the movie's score.

The first half of the soundtrack opens with "Mary Mary," a new song remixed exclusively for the soundtrack by Chumbawamba. Remember that one-hit-wonder band? They're back with a very un-Chumba-ish song that really sets the mood, which can be described in one word as dark. The next truly notable song is Bjork's "All Is Full of Love." Bjork's warbling lyrics are often bizarre without meaning to be, and this song is just as appropriately eerie.

David Bowie sneaks in as track four with his exhilarating new song "The Pretty Things Are Going To Hell." One very interesting fact is the story behind Bowie's involvement with the "Stigmata" soundtrack. For years Bowie has been intrigued by religion in film (namely "The Man Who Fell To Earth" and "The Last Temptation of Christ") and the movie's theme captured his attention. He was more than happy to contribute a song and it is definitely one of the soundtrack's highlights.

The first half finishes up with a previously released "Release" by the Afro Celt Sound System featuring the wonderful Sinead O'Connor. Her involvement in a soundtrack for a movie attacking the Catholic faith seems appropriate and most welcome (her involvement, not the attacking part). Another welcome component for me is the addition of Massive Attack's "Inertia Creeps." This is followed by "Identity," the film's opening track, a powerful and honest performance by the pop queen Natalie Imbruglia. The idea behind the song, according to Corgan and Garson, was that the words were written in the perspective of Patricia Arquette's character. Following along with Natalie's words you really get a feel not only for the film, but for the mood of the entire soundtrack.

The rest of the soundtrack is the mastering of Corgan and Garson, a score that they hoped would compliment the movie and also stand alone. I don't know if I'd listen to part two of the "Stigmata" soundtrack solo, but mirrored with the first seven strong songs, it makes a very complete portrait.