As summer turns to fall in the cinematic season, it coming-of-age films. Since we've been around this block before, we know to expect certain things from the soundtracks of these films, be they focused on teenage crisis, quarter-life crisis, mid-life crisis, or some combination of these infinite crises. Any compiler knows that a delicate mix of childlike whimsy and bittersweet melancholy is a must, not to mention a dusted-off, neglected oldie that summarizes the film's themes, and maybe a few covers, Thumbsucker is clearly aware of these requirements, music video production, his rolodex should have been more than up to the challenge of filling out the OST.
He started by courting Elliott Smith, who was originally pegged to provide all of the film's music. Smith's erratic work rate delayed the proceedings, and his death halted them, forcing Mills to draft in the Polyphonic Spree, perhaps To their credit, Tim DeLaughter's robed crew are adept at the whimsy part of the recipe stated above, as of sun-cult music can attest. Though the format slow-build dynamics, the band nevertheless finds the space to use all of their many parts, handing most of the vocals to their choir and letting the strings, horns, etc.
flit around the borders. But with rarely more than a minute or so to unfurl, the songs lack heft, sounding a little like jingles for However, as far as the Spree doing the melancholy part: Eh, not so much. Attempts at band, with DeLaughter putting on his best Ben Gibbard Fortunately, Mills was able to salvage three demo-ish songs done by Smith, tremulous takes on Big Star's "Thirteen", Cat "Thirteen" is clearly the best of these, reverently remade as it is, Smith adding another sedimental layer adolescent reminiscences.
But as accompaniment to a movie about a troubled teenager and his relationships, it's not the most subtle of soundtracking gestures. the entire score, not surprising given the rainbow In the end, this lack of grace is what keeps Mothersbaugh has done for Wes Anderson.
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