Broken Social Scene - Love Will Tear Us Apart (originally performed by Joy Division) [The Time Traveler’s Wife]

So, let’s just get the standard music snob line about Joy Division’s “Love Will Tear Us Apart” out of the way: it’s undoubtedly one of the greatest songs of all time. It’s the indie “Stairway to Heaven”. It’s a masterpiece in juxtaposition, between utterly devastating lyrics and one of the catchiest melodies ever put to record. There’s a reason it’s not just one of the most frequently used songs in film and TV (especially for anything that takes place during the ‘80s, Donnie Darko, or 24 Hour Party People for example), but additionally one of the most covered songs in music history. I’ve heard plenty of good ones here and there; though admittedly, even some of those are perhaps a little too faithful (understandably so) to the original composition.

Broken Social Scene’s underrated cover, which was appended to the soundtrack of the 2009 film adaptation of The Time Traveler’s Wife, plays things a little differently. While still faithful, the Toronto indie rock collective (which I should mention is one of my personal favourite bands) brings the song down at half-speed, turning it into a ballad suited for a slow dance, and fittingly enough, the cover soundtracks a scene where its lovelorn protagonists are doing exactly that at their wedding (a scene where the band actually cameos). Some would argue that the juxtaposition of the original is the point, the band delivers it with such earnestness and with such a rich atmosphere (from the lilting pianos to front-man Kevin Drew’s pitched-down vocals) that it sneaks up on you when you least expect it. And given the heartbreak that’s already at the centre of the song, it fits within the context of the film, where time travel literally tears love apart. I couldn’t tell you much about the film itself (other than watching it due to my everlasting crush on Rachel McAdams), but the fact I can tell you a lot about BSS’s cover speaks to how well it works on its own merits, even if it doesn’t surpass the quality of the original.

Nine Inch Nails - Dead Souls (originally performed by Joy Division) [The Crow]

Continuing on the topic of Joy Division covers, “underrated” is probably the last word to use when talking about Nine Inch Nails’ take on “Dead Souls.” Recorded and released in 1994 as part of the soundtrack to The Crow, the one-off cover is such a fan favourite not only due to its appearance in that film, but additionally to its frequent appearances at their live shows. In fact, one could very well see it as sort of a precursor to the soundtrack work that Reznor would embark on later in his career, initially on his own (in the same year, he would produce the soundtrack for Oliver Stone’s Natural Born Killers), and later with future NIN member Atticus Ross (where film scoring became a specialty). While Reznor and company don’t stray away from the structure of the original track (note for note, even down to its iconic bass line, it’s pretty faithful), they opt for a somewhat slower tempo and moodier, heavier atmosphere, in contrast to the fast-moving, jittery vibe of the original.

Reznor never tries to imitate the late Ian Curtis vocally either, especially near the end of the tune, where he screams the chorus “they keep calling me” with such intensity it almost brings forth the image of a person possessed by the voices in his head (lyrically, the song has often been interpreted to be about someone struggling with schizophrenia or some other type of mental disorientation). While the original track is tense and haunting enough, I think the cover accentuates that inherent nature with a fuller sound. It’s especially complimentary to Alex Proyas’ take on the beloved comic, which is already dark and gritty in tone and atmosphere. If you want a picture of the influence Joy Division and other bands in their particular genre left on those in the industrial music scene in the ‘90s, look no further than this.

The Venus in Furs - 2HB (originally performed by Roxy Music) [Velvet Goldmine]

It’s legend at this point that David Bowie, whose influence is all over Todd Haynes’ 1998 cult classic Velvet Goldmine (right down to the film’s title, named after his 1975 track, often called an underrated classic), disapproved of the film and refused to grant the filmmaker the rights to his song catalogue. Those creative restrictions were probably the best thing that could’ve happened to Haynes, as it ended up allowing him to focus more on the elegant and anarchic soul of the 1970's glam rock era. I love the film, and would argue it’s pretty underrated in the context of Haynes’ filmography. Part of its greatness lies in its coupled soundtrack, curated by Haynes, music supervisor Randall Poster, and R.E.M front-man Michael Stipe, as it’s filled with licensed music from the period (Brian Eno’s “Needle in the Camel's Eye” and Lou Reed’s “Satellite of Love” are memorably used), as well as originals (by bands such as Pulp and Shudder to Think) and covers. Two in particular are of Roxy Music tracks “2HB” and “Ladytron,” both which are credited to fictional band The Venus in Furs, led by the Bowie-esque character Brian Slade in the film. In reality however, it’s a bit of a British supergroup, led by Radiohead frontman Thom Yorke, with fellow bandmate Jonny Greenwood, Suede’s Bernard Butler, David Gray band member Craig McClune, and even Roxy Music saxophonist Andy Mackay among some of the other members.

“2HB” is probably my favourite cover of theirs, and because my exposure to Roxy Music was relatively thin at the time, it was my first exposure to the song for the most part. Note for note, it’s pretty faithful to the original, but this is one of those cases where I mostly prefer the cover, since the production feels a lot fuller, and Yorke’s always emotive vocals, which mimic Bryan Ferry in some ways, give the lyrics (originally written as a loving tribute to screen actor Humphrey Bogart) an extra oomph in regards to its sincerity.

The song’s instrumental break is especially a highlight, as Mackay reprises his wonderful saxophone solo, mixed in beautifully with the rest of the instrumentation, which includes a warm keyboard, relaxed drumming, and as the song reaches its end, guitars that get fuzzier. All together, the impact it leaves, to quote the song’s final verse, “fades away…never.”

Beck - Everybody’s Got to Learn Sometime (originally performed by The Korgis) [Eternal Sunshine of the Spotless Mind]

Even 20-something years removed from its release, Eternal Sunshine of the Spotless Mind, the multilayered second collaboration between director Michel Gondry and writer Charlie Kaufman, remains as poignant in its exploration of love, heartbreak, and memory as ever, and though some have certainly tried, it’s a difficult and almost thankless task to even try and replicate its magic. Some of that comes down to the film’s soundtrack, from the always underrated Jon Brion’s hypnotic score (blending strings, acoustics, and electronics), to the variety of tunes ranging from the Polyphonic Spree to the Electric Light Orchestra classic “Mr. Blue Sky” (which was actually not featured in the movie, but played a major part in the trailers and advertisements). One of the major highlights, however, is Beck’s cover of The Korgis’ “Everybody's Got to Learn Sometime.” Appearing three times in the film, including its final scene to great effect, the Brion-produced cover is perhaps the most definitive version of the song in my eyes, as it swaps out some of the brightness the original had for devastating melancholy, both vocally (Beck goes for a lower register in comparison to Korgis frontman James Warren) and instrumentally (where the string arrangements add an extra layer to the track). Had Beck recorded it earlier for his 2002 album Sea Change (which, much like Eternal Sunshine, reflects on a breakup), it would’ve been a perfect fit, as it feels like a natural progression of that particular era. So, add this to your list of breakup anthems if you feel like compiling a list of them.