Review Summary: Cute and subtle, like the movie.
I believe that, frankly,
Scrubs is an absolutely atrocious show. Every single time I watch it it seems it’s plot is almost entirely identical to other episodes I’ve seen. The performances are slightly robotic and contrived, the plots (should the episode choose to feature one) are paper thin, and Zach Braff, the show’s star, is almost unbearably annoying. But recently a friend of mine, having complained to her beyond points I thought possible about
Scrubs, suggested I check out
Garden State and/or it’s soundtrack. At this point I was fully aware that Zach Braff was, indeed, the creative mastermind behind the film. I frankly didn’t know exactly what to expect.
So I watched the movie, and to my surprise I enjoyed it thoroughly. It was an emotional, alienated film, relying on beautiful imagery, subtle performances (Zach Braff impressed me beyond belief, to be honest), a strong script and a simple story line, which oddly helped the movie reach it’s goal as a delicate and poignant picture. Among these elements, the music (chosen by Zach Braff) stuck inside my mind as one of the strongest points of the movie. So I bought the soundtrack.
Like the movie, the soundtrack is very quiet, subtle and obtuse, yet irresistibly heartfelt and beautiful. Quiet folk ballads, spacey dance-rock numbers and compassionate, almost melo-dramatic indie rock pieces are the grounds for the soundtrack. But one thing every song has in common is that they relate to the film in regards to how moving and irrepressibly profound and refined.
Iron and Wine’s “Such Great Heights” is quiet, delicate and subdued acoustic piece that sounds like it was recorded in 1890, and the calm and soothing melodies built from the finger-picked acoustic and almost spectral vocals, while [i]Thievery Corporation[/l]’s “Lebanese Blond” and
Zero 7’s “In the Waiting Line” are dance-powered, jazzy and mellow songs, with very relaxed feels to them, but feels just as in place as songs like
The Shins’ “Caring is Creepy” and “New Slang”, which are jangly while simultaneously lugubrious and melancholic songs, and unfailingly beautiful ones at that.
The movie itself is very sad, and though it’s not exactly the most noticeable quality in the movie, it’s very much the backbone of all of the performances and direction riding upon it. So it’s natural that the soundtrack should sound somewhat gloomy and, upon initial recollection of the movie’s moods, almost disconsolate. But the soundtrack avoids these somewhat repellent qualities in place for downbeat and delicate pieces, such as
Cary Brothers’ “Blue Eyes” and
Remy Zero’s “Fair”, both slow-burning and beautiful songs that are inches away from being somewhat sappy, were it not for the very disheartened and ponderous music.
Colin Hay’s “I Just Don’t Think I’ll Ever Get Over You”,
Nick Drake’s “One of These Things First” and
Simon and Garfunkel’s “The Only Living Boy In New York” are all retro-minded folk pieces that exist on the border of glumness and triumphant simplicity, all with equally impressive results, and help bring a more human touch to the soundtrack.
The soundtrack is the perfect musical companion to the movie, and while I’m stating the obvious it becomes evident right on the first track,
Coldplay’s “Don’t Panic”, which is a very quirky and quiet song, with a simple concept of how “we live in a beautiful world”. But the great thing about the soundtrack and the most comparable quality to the movie is that it has no real highs or lows, it simply moves at a very sustained level without flinching too much out of concept. Even the ending piece,
Bonnie Somerville’s “Winding Road” is an acoustic piece on the quieter side, with additions of percussion and layered guitars among the way. It’s the perfect way to end the soundtrack, reminiscent and true to it’s style, or, almost, lack thereof.
This soundtrack is a very delicate treat. It’s a very relaxed, quirky and melancholy album, and while it doesn’t wipe itself out with variety of both style of song and of mood, it’s still remarkably enjoyable all the way through. Constantly beautiful and ethereal, the Garden State soundtrack holds it’s own as a very down-toned, refined and consistently great soundtrack. Lacking anything resembling a bad or out of place song, this is a truly wonderful listening experience not for just a soundtrack, but as an album by itself. Highly recommended to those interested, or to any fan of an aforementioned artist.
