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.
