Some of us haven't heard Tim DeLaughter since his Polyphonic Spree composition, "Light & Day" penetrated our consciousness in the iPod/Volkswagon commercials.  If your relationship with the Spree stopped there, rekindle the fire with the Thumbsucker Original Score.  The whole album, with the exception of 3 Elliott Smith tunes, is DeLaughters musical vision of the emotions, triumphs, pitfalls, and story of Thumbsucker. 

There are several original songs (not just scenic accents) laced into the score, such as "Scream and Shout", and "Move Away and Shine".  Most will recognize the later, which is the song gracing the trailer.  They stand up very well on their own as singles, likewise flowing along with the feel of the film seamlessly.

The whole thing is very reminiscent of Mark Mothersbaugh's work for Wes Anderson (e.g. Rushmore, Royal Tennenbaums), but with a definably Polyphonic feel.  Listen for the simple, but well placed acoustic guitar, the resonate bass lines and the light but impactful piano sections.  The ever-present large choral inserts are classic 'Spree'.  DeLaughter retains his signature style, drawing on the simplistic style of sixties folk and pop for inspiration, while maintaining a strong connection with the benefits of modern technological music making.

Those who have seen this movie can undoubtedly attest to the importance of it's score.  Delaughter's work not only accentuates the films attitudes, but likewise gives a strong underscoring of it's subtleties.  The film has quite a few moments of silent reflection and emotional discovery.  Without such attentive sounds filling the background, I doubt the message would stick as well as it does.

Of course, what's a good independent film without a few Elliott Smith Tracks?  I must admit, I'm very pleased with the selection.  Rather than simply drawing on Smith's 5 or so studio album releases as others do, featured are two rare covers, 'Thirteen'(Big Star), and 'Trouble'(Cat Stevens), that some Smith fans may have never heard.  'Let's Get Lost', on the other hand, should be easily recognizable by even the newest of Elliott's devoted listeners.  The track was featured on the most recent album 'From A Basement On A Hill', which showcased tunes Smith was unable to release before his death. 

Overall, the album does a great job of standing by itself as an independent product.  I would, however, suggest that to truly experience DeLaughter's work in the way it was meant to be experienced, you should see the film (I would suggest you see it anyway).  Let the melodies draw up the films inspiring and memorable moments long after you've turned off the television.