Yeah, I'm not a big fan of Moby, but sometimes we have to give props to canonized historical precedents. Good grief, why can't I have a normal dog like everybody else? Anyyaw, I've recently been rewatching the awesome cinematic Steve Coogan vehicle/account of a widely influential music scene "24 Hour Party People", as well as the well-researched and entertaining vh1 documentary mini-series "The Drug Years". These pieces among others taught me that the soundtrack to indicate the rise of ecstacy culture is Moby's "Go". It's a pretty great track, so take a look at it:
Believe me, it is more amazing with filmatism and context. But why is this one such an anthemic representation? You can usually trace these questions to samples. "Go" makes particularly good use of the theme to Twin Peaks:
That slice of transcendence was composed by frequent David Lynch collaborator Angelo Badalamenti. He is one of the finest, most visceral composers for film today, and he and Lynch have some kind of mind meld that produces extravagant new scary worlds of sound and vision. His masterpiece was the score to a very maligned Lynch movie that I love, Fire Walk With Me.
Angelo Badalamenti - Fire Walk With Me