The album finishes with a track called "Suicide Underground". A deep synthesized male voice narrates the basic plot of the film from the point-of-view of an adult remembering his childhood living in that neighborhood when the terrible event took place. The effect is haunting and profound. The entire album caresses that deep dark place in your concious mind.

You should buy this album if you like Air for their subtle layering of musical textures that results in a sound that is at once original and familiar. If you like Air because it is upbeat and trippy, wait for their next album, which is supposed to be a proper sequel to Moon Safari.


Another promising step for Air   March 2, 2000
 9 out of 9 found this review helpful

Air's latest offering has a significantly darker texture than either "Moon Safari" or "Premiers Symptomes". This could be due partly to the dark nature of the film this album constitutes the score for. Only one track off this disc features vocals (though several more have voice samples). This is the type of music from Air that I personally prefer. Many of the songs are also quite brief, leaving one wanting more. Thats really the only problem with this disc. The thirteen songs combine to run only about fourty minutes. Some of the songs wind up feeling underdeveloped. That being said the sounds and textures are uniformly brilliant. Comparing the sonic palette (and the whole album for that matter) to Pink Floyd's "Dark Side of the Moon" is justifiable. I don't think this album will bring Air legions of new fans and for first time buyers "Moon Safari" is still a better introduction, but for anyone remotely into the duo this album is an essential buy.


BUY THIS RECORD!   March 2, 2000
 9 out of 9 found this review helpful

That's a dreadful headline as it says nothing of any significance but...This record is amazing. Don't buy it expecting Moon Safari 2, though. This is a soundtrack and therefore has a different feel than a standard album. However, you will not be disappointed. If Radiohead and Portishead gave birth, this would be their child.


I dunno...   March 3, 2000
 8 out of 12 found this review helpful

Had high hopes for this one, after the majesty of their previous releases. But their soundtrack leaves me shaking my head (and not up-and-down). Maybe you need to see the film, I don't know. (But then again, I've only seen a few of the Italian films that Morricone scored, and those scores are always sensational) The "songs" seem, for the most part, like undeveloped snippets of ideas. And Air doesn't give these snippets any time to develop - as soon as a groove is developed it's faded out. And I've always enjoyed the grooves that Air gave us. This album couldashouldwoulda been much better, much longer. A few tracks stand out, but the overall feeling is of ideas half thought-out, half-developed. Overall this is an album that is too conservative, and has too much of a been there/done that feel. No growth, no chances taken. But still I'll probably listen to it 40 times more. After all it's still Air.


Zowee!   May 18, 2001
 8 out of 8 found this review helpful

Air's ambient, dreamy and incredibly mood-setting score for the film The Virgin Suicides opens with the soulful "Playground Love," what I still believe to be one of the best pop songs of the last five years. It combines the dark ambience of the later songs with a pop sensibility and the result is a song that, if it was played on the radio, would be one of the greatest pop songs of recent memory. It's more or less smooth jazz with string synths to compliment it. The gentle loungy xylophone and saxophone make this the best chill-out song with a pop structure. Immediately, Air seems to be showing a Pink Floyd influence, one that reoccurs throughout the whole score.

The rest of the album keeps a similar dark theme, with Air, this time, switching off from their beloved synthesizers to more traditional instruments at times. Many songs are built over loops of synth sounds, with the song building slowly, and changing, until it ends up back where it started. Such is the case with "Clouds Up," "Cemetary Party" and "Dark Messages." "Cemetary Party" consists of a plodding footstep sounding synth with a organ, and a dreamily played guitar. This song also shows off the capabilities specific synthesizer, i forget the name of it, but Kraftwerk used one of the first versions of it on Radioactivity. It imitates the sound of a choir singing, and so it gives this incredible half-real half-surreal sound of what could be human voices, but you're not sure. Because I immediately tie in the sound with its use on Radioactivity, it always sends a chilling sensation through my body. It's somewhat ominous.

As i said, the rest of the album pretty much sustains a mood that's somewhere between mystery and suspense, between clean and sleazy. The Pink Floyd influence is so big that "Highschool Lover" sounds like it was taken right out of "The Great Gig In The Sky." The results of this record couldn't be predicted from Air's somewhat friendlier Moon Safari. They've matured in a good way. This is a film score that should be a trend-setter. Personally, i haven't heard another score that sounds like this, both electronic and traditional and just so.. so... moody! It adds up to be one of the best and most cohesive film scores i've ever heard.