Michael Andrews - Me And You And Everyone We Know (Score)
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CD Details
Artist: Michael AndrewsEdition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Soundtrack
CD Release Date: 2005-07-12
Music Label: Everloving
Soundtracks:
- The Opening
- Goldfish
- Robbie Coin Tap
- Sox On Ears
- Signs
- 5 On A Joyride - Cody ChesnuTT
- I'm Not Following You
- Library Chat
- Me & You Shoes
- Mirror
- Peter & Sylvie
- Fuck
- Any Way That You Want Me - Spiritualized
- Boy Moves the Sun
- A Summer Long Since Passed - Virginia Astley
- Heaven in Five
Music reviews of Me And You And Everyone We Know (Score)
Music Review: Near Perfect Daydream Music (4/5)
Rating: 4 Stars
"When I was little I had a theory that you should draw a picture using all the colors except yellow, making it as good as you could, and then, finally, after giving up, you should add yellow. And yellow had the magical property of instantly making everything come alive, it was light itself, and thus the picture came into being. Mike Andrews' score was the yellow for this movie." - Miranda July, May 7, 2005
))<>((
FOREVER
As I sat in the theatre watching Me and You and Everyone We Know, I was instantly fascinated by the wistful sounding score delivered by Mike Andrews in the opening minutes of the film. Andrews, of course, is the same musician responsible for the equally great Donnie Darko soundtrack from several years back. Throughout the 90 minutes of Me and You and Everyone We Know, he delivers patches of fragile sounds that enhance the quirkiness of Miranda July's direction, imagery, and dialogue, and it's quite possibly one of the best score/cinematic combinations in several years.
In the same way Sofia Coppola improved Lost in Translation with her stellar music choices, Andrews, along with help from July, has followed suit with compositions that don't compete, but rather enhance the quality of the film. Since Andrews' music is so subdued, it never really forces its way onto the viewer. But while listening to the soundtrack in the car or at home, it becomes a much different affair. There is a gift of elation that presents itself to the every day tedium of life and a sense of careless daydream that we could all certainly use.
"The Opening" begins with dialogue from the film, spoken by Miranda July. It's a glimpse into the quirky behavior that takes place in the film with July's character, Christine Jesperson, having a fictitious conversation with her imaginary lover. As the conversation develops, the song opens up with the first moments of Andrews' minimal electronic contributions. The gallop of subtle drum beats with the interaction of pensive sounding keyboards is the modus operandi for this and the rest of Andrews' songs.
There are a few guest appearances on the soundtrack, such as the often overlooked Cody Chesnutt. Along with Chesnutt, Spiritualized and Virginia Astley also have their brief appearance. Chesnutt's "5 On a Joyride" is the obvious favorite of the three, while "Any Way That You Want Me" from Spiritualized is also a very welcome addition to the non-score songs. These three, while potentially unnecessary to the overall flow of the score, give the listener a few moments to step back from Andrews' music.
With such a great music companion at its side, it's hard not to enjoy a film like Me and You and Everyone We Know. I appreciate the attention to detail that July put into constructing a soundtrack that doesn't compete with her film. Too many times directors simply take some of their favorite songs and slap them together for the purpose of having something in their film. Only on rare occasion is the soundtrack portion of the film composition looked at as something that adds to the final product. Miranda July and Mike Andrews have certainly succeeded here by creating one of the best soundtracks of the year.
More Me And You And Everyone We Know (Score) free music reviews:
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Description of Me And You And Everyone We Know (Score)
Michael Andrews spent three months creating this scoreusing an orchestra of obscure vintage synthesizers and drum
machines. Inara George adds vocals in several climactic
moments throughout the film.
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