19 Songs, 56 Minutes

EDITORS’ NOTES

Based on a Philip K. Dick short story, The Adjustment Bureau portrays a romantic couple — a politician and a ballerina — struggling against the forces of fate as embodied by The Bureau, a mysterious outfit that plans and influences people’s life paths. Veteran composer Thomas Newman crafts an array of cues for the film. “Elise” features a vaguely Middle Eastern melody and tribal beats before morphing into a section with mournful strings and atmospheric electric guitars. “New Leaf” glistens with expectancy as rattling percussion, quiet piano, touches of strings, and reverb guitar combine to create a rich timbral pallet. The cut flows smoothly into “Pier 17,” where similar elements are employed and the tension is ratcheted up a notch. “The Girl On the Bus” finds guitar riding an almost Krautrock-like pulse, while “The Ripples Must Be Endless” effectively wraps things up. “Future’s Bright” and “Are You Ready,” two songs by Richard Ashcroft, bring the big sound of Britpop to the album, and an Adam Freeland remix of Sarah Vaughn’s “Fever” is also included.

EDITORS’ NOTES

Based on a Philip K. Dick short story, The Adjustment Bureau portrays a romantic couple — a politician and a ballerina — struggling against the forces of fate as embodied by The Bureau, a mysterious outfit that plans and influences people’s life paths. Veteran composer Thomas Newman crafts an array of cues for the film. “Elise” features a vaguely Middle Eastern melody and tribal beats before morphing into a section with mournful strings and atmospheric electric guitars. “New Leaf” glistens with expectancy as rattling percussion, quiet piano, touches of strings, and reverb guitar combine to create a rich timbral pallet. The cut flows smoothly into “Pier 17,” where similar elements are employed and the tension is ratcheted up a notch. “The Girl On the Bus” finds guitar riding an almost Krautrock-like pulse, while “The Ripples Must Be Endless” effectively wraps things up. “Future’s Bright” and “Are You Ready,” two songs by Richard Ashcroft, bring the big sound of Britpop to the album, and an Adam Freeland remix of Sarah Vaughn’s “Fever” is also included.

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