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Scores have a context outside of their film- reminiscing,
atmospheric music, possibly an attempt to recreate
a movie’s mood. Often they’re such a
soothing backdrop, I play them to hurry sleep.
In that aspect, I find Me And You
And Everyone We Know, quite charming,
with subterranean loneliness. A proper score is
best faded into the background of whatever visual
it is embellishing. The music of Michael
Andrews, who also scored “Donnie
Darko” and “Freaks and Geeks,”
piqued my interest in Me And You And Everyone
We Know - alas, it has yet to hit Netflix.
However, when I do see the film, surprise will
be forthcoming if the music does anything save
perfectly slip into the story, a sonic character.
I really only had two significant problems with
the album. The first being the inclusion of the
Cody Chestnutt track, because
I continually fail to understand any fuss surrounding
him. I just don’t think he can sing. The
second objection lies with track one; I’ve
a problem with lines taken from film and put onto
the score. It reminds me of Titanic or the Paula
Abdul video with Keanu Reeves. I don’t think
there’s a way to avoid coming off cheesy.
That said, if you have a particular passion for
film scores, add Me And You And Everyone We
Know to your collection. Though, honestly,
I’d first pick up a full length of Spiritualized
(who’s old cover of “Any Way That
You Want Me” is on the CD), Sigur Ros, or
Royksopp.
www.meandyoumovie.com
www.everloving.com
www.elginpark.com
-Ariana Oppegard, August 26, 2005
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