The work of Thomas Newman is the backbone of the soundtrack to WALL-E. The same nuances of underwater exploration from Finding Nemo are evident, but the desolate outer space and dusty Earth have more of a science fiction feel. The album on the whole includes a lot of sound bites throughout the whole movie.
Wall-E, with his lack of real emotion, depends on camera effects and musical cues to display his thoughts. Wall-E's mindset is clearly placed in this album. The track, "Wall-E," perfectly captures the curious mind of the main character. The desolation of the Earth turns to adventure and curiosity in space. The change of music from Earth to outer space is reminiscent of any Star Wars film scores. It is eerie how well the music from Hello Dolly fits the adventurous nature of Wall-E. Wall-E uses Hello Dolly to piece together what human existence really was and it is great to see it on the soundtrack.
I appreciate the inclusion of the jingles for Buy n' Large, the shorter nuances are what makes this whole album complete. Some may complain that some tracks are too short, but in all reality, one would miss the track if it wasn't even included in the album.
Peter Gabriel's song, "Down to Earth," is a little too positive. There is something that is lacking, listening to the track without the credits scrolling with it. It becomes silly. Why are we "coming down to Earth" if we're already on Earth? Without Wall-E, the track is just a mess. The last track, "Horizon 12.2," has the same exact message, but without Gabriel or a chorus. Peter Gabriel's song is uplifting even if it's a little too saccharine.
On a whole, WALL-E (Soundtrack) feels quite complete with 38 tracks. Some of the albums have cardboard cases, so listeners should be careful how they handle their CDs, because the cardboard can make scratches. Any Pixar fan will appreciate this album, especially fans of the Finding Nemo soundtrack.
Michael Pascua
WALL
The work of Thomas Newman is the backbone of the soundtrack to WALL-E. The same nuances of underwater exploration from Finding Nemo are evident, but the desolate outer space and dusty Earth have more of a science fiction feel. The album on the whole includes a lot of sound bites throughout the whole movie.
Wall-E, with his lack of real emotion, depends on camera effects and musical cues to display his thoughts. Wall-E's mindset is clearly placed in this album. The track, "Wall-E," perfectly captures the curious mind of the main character. The desolation of the Earth turns to adventure and curiosity in space. The change of music from Earth to outer space is reminiscent of any Star Wars film scores. It is eerie how well the music from Hello Dolly fits the adventurous nature of Wall-E. Wall-E uses Hello Dolly to piece together what human existence really was and it is great to see it on the soundtrack.
I appreciate the inclusion of the jingles for Buy n' Large, the shorter nuances are what makes this whole album complete. Some may complain that some tracks are too short, but in all reality, one would miss the track if it wasn't even included in the album.
Peter Gabriel's song, "Down to Earth," is a little too positive. There is something that is lacking, listening to the track without the credits scrolling with it. It becomes silly. Why are we "coming down to Earth" if we're already on Earth? Without Wall-E, the track is just a mess. The last track, "Horizon 12.2," has the same exact message, but without Gabriel or a chorus. Peter Gabriel's song is uplifting even if it's a little too saccharine.
On a whole, WALL-E (Soundtrack) feels quite complete with 38 tracks. Some of the albums have cardboard cases, so listeners should be careful how they handle their CDs, because the cardboard can make scratches. Any Pixar fan will appreciate this album, especially fans of the Finding Nemo soundtrack.
