Review Summary: Romantic indie film about strange love? Check. Michael Andrews to score a cute soundtrack that will fit this movie but not provide the greatest outside listening? 10-4 on that.
A different movie than Donnie Darko which was also scored by Andrews but producing a similar feel, how would this one be made and what would seperate it from other soundtracks? Well, for starters he proves to be no composer slug, getting involved in the actual making of the work by playing keyboard that remains pretty much the same throughout, this would be a bad thing if most of the movie didn't have the same tempo anyway. While he is listed as the primary artist in the piece, it is not Andrews' work alone that made it to the soundtrack. In addition to his work on keyboard being featured, so are tracks by Spiritualized,soul singer Cody ChessnuTT, and Silent Poets member Virginia Astley. In a way this takes some pressure off of him to do the entire thing, but it does put emphasis on the needed quality from his work to make it a real original soundtrack.
Whats different about this soundtrack than other soundtracks? Well to fit a unique movie like
Me and You and Everyone Else We Know, there would have to be some kind of individuality to be put in the final release. The plan of individuality is achieved on this disc, and while certainly guiding scenes along is no new thing, the spotlight that hits the music when the many scenes of silence and visuals shines brightly and indeed the music is adequate enough to respond.
So why only a average rating then? If the music is so good to move along a movie that won the Jury Prize for Originality of Vision at the '05 Sundance Festival, why is it not good on its own? Certain soundtracks can indeed go further than the movie that made it and provide to be a quality listening experience. In that case its not that the movie was not a good experience, and in fact it does not relate to how the movie is at all. If a soundtrack moves along a movie only and is not great to be listened to on its own, that is fine. If if can be enjoyed outside the movie experience, that is fine too. In this case, most of the songs really do need the movie experience to help them be more enjoyed. That is fine, but like the soundtrack itself, it is only that, fine.
It begins innocently enough, with the monologue of lead actress, Christine Jesperson, that opens up the film also. "If you really love me, let's make a vow/right here, together,right now." A very romantic and cute origin that despite its occasional sick and disturbing twists, sets the tone of the film and soundtrack. The woman herself sounds like she needs help, embellishing too much on certain words and repeating herself often. Andrews accompanies her in the back, with light sounding keyboard warm sounds. This lasts until she quiets up and lets Andrews take center stage, with his artificial keyboard playing. The sound is set to warm where it remains for most of the body of work, and while warm is nice, it contains one of the albums flaws. Yes the music is sweet and is usually played when scrawny guys with shaggy hair squint their eyes, open their mouths, and look around (try it at home! ooohhhahahhhhhhhhhhhoooohhhhh, ok) but where does it go at all? Indeed the noises and sounds that make this are just a giant standstill, sometimes bringing in other noises to make melodies that are pleasing to listen to, but seem to be stuck in the middle of a song the entire time. Giving him a break, is the track
"Fuck which uses real piano and a female voice harmonizing with it. Wait, vocalist, piano, and whats this? Drums!? Yes folks, drums are now in the building, and they sound real! Not the big deal that was made out to be, but certainly a change of pace in the progression in the album.
The break we get from Andrews' zombie machine of a keyboard come from artist Cody ChesnuTT. A cute kiddie song, but at least one with a beginning and an end,
On a Joyride shows off ChesnuTT's soothing voice in a lo-fi quality, which was the intention, as to make it sound like it is being played from a stereo and recorded from there. Piano plays along with this piece, but a piano that sounds real (not that the artificial sounds are a problem). Another break is from moderately successful British shoegaze band,
Spiritualized which contributes the longest track on the soundtrack (6:27). As being the only song on here from an actual band, the song might be assumed to be completely different from the rest. It is and isn't, as it is similar in terms of style and sound, but different in the making of it, as they are a whole band, and Michael Andrews/Cody ChesnuTT/Virginia Astley are not entire bands. The song is a highlight in the piece, fitting in the role of "the band near the end of the film that ties things together/plays for a pivotal scene" and being a very good song on its own, featuring a wah guitar solo, and the always present ambient section.
Overall, the Michael Andrews and company experience is a good one. He succeeds in making a soundtrack for the film, and then again what more was anyone looking for? There are some individual musical highlights, ones that work as singles but sort of get mixed in with the seemingly one-trick-pony sound that inhibits the album as well.
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