The power of a soundtrack: 'Garden State' (2004), 20 years later

Graphic by Julia Norkus

By Sofia Giarrusso

“You gotta hear this one song, it’ll change your life, I swear.”

This is how we are introduced to Natalie Portman’s character, Sam, in Garden State, released in August of 2004. Sam proceeds to place her headphones over the protagonist’s, Andrew's, ears (played by writer and director Zach Braff). Our senses are then combined with Andrew’s as we hear the Shin’s “New Slang.” Something seemingly awakens in him, not because of the music—as Sam insists—but rather because of her beauty. Nice try, Braff; very subtle. 

Sure, maybe the Shins did change Sam’s life, or even yours. The track is undoubtedly beautiful and melodic. It’s one of many amazing choices made through the music supervision of the film. In fact, Garden State is remembered most fondly for its Grammy-award-winning soundtrack featuring Coldplay, Nick Drake, and Frou Frou, amongst many others.

When the film was released 20 years ago, it received generally favorable reviews for its visual aesthetic, character-driven plot, and, of course, soundtrack. Two decades into the present, it does not stand the test of time. See, Garden State follows a lost everyman on his depleted journey through his home state of—you guessed it—New Jersey, after his mother’s passing. Overall, the film isn’t terrible by any means as it maintains a warm sincerity throughout. Nevertheless, the film isn’t amazing despite the soundtrack trying to trick you into believing so. It relies on tropes like the “Manic Pixie Dream Girl” to support the actions and intentions of Andrew. He lulls around waiting for good things to come to him, and when they finally do, there is a lack of playoff. In reality, it is difficult to root for the protagonist when you ultimately find yourself waiting for the next song to play— well, at least that’s the case for me.

I am obviously not the first to highlight the music of the film (duh— note the Grammy award). Moreover, I find the disparity between the actual content of Garden State and the soundtrack to be kind of…comical? Jarring, even? Call me a hater but there exists so much depth within the music that the story becomes innately bleaker and less powerful. Truly, I believe that if the work of the Shins, Zero 7, and so on were scrapped from the film, we wouldn’t even be discussing Braff’s 2004 film in the modern age. Not even in a cult-classic way. 

Interestingly, Garden State lacks a traditional instrumental score (called an “underscore”). Braff instead utilizes a “song score,” an approach that implements music that either previously existed or was made for the film. This isn’t your typical John Williams, classical music fare, as song scores aren’t meant to hide in the background behind characters or actions. This enhances music’s role in a film, making soundtracks like the Garden State’s vehicles for a cinematic fingerprint.  

So, after all this talk about the soundtrack, you’re probably wondering, ‘what makes it so good that it’s worthy of discussion 20 years later?’ It’s the indie of it all, of course! Seriously though, I’ll give Braff credit where it is due: his curation of songs creates an infatuating aura in itself. The mix of soft rock, folk and experimental sounds blend seamlessly to both push along the story and stand alone by itself. Indie sensibility flows throughout without feeling too overt or in-your-face; Braff doesn’t attempt to wow the audience with popular needle drops or shock value. I wouldn’t say the soundtrack is full of angst or grittiness in, say, a Gregg Araki-indie soundtrack sort of way. Rather, the music of the film establishes a center of vulnerability and adult naivete. 

The track listing of Garden State spans 13 songs and I could gush about each individual song all day if given the chance. But, let me keep my concluding thoughts brief for everybody’s sake: absolutely indulge yourself in the soundtrack, and you can absolutely pass on the film. Or, maybe at least give the Wikipedia a quick read for some extra context. At the very least, take a listen to my favorite songs…

“Don’t Panic” by Coldplay

A certified ‘00s classic (at least in my household), Coldplay’s “Don’t Panic” is a stifling opening track for the film. The gorgeous, yet simple instrumentation, layered with Chris Martin’s hollow vocal performance is hauntingly addicting. The juxtaposition of the lyrics “All of us are done for / And we live in a beautiful world” sets the tone for Garden State to a T.

“Caring is Creepy” & “New Slang” by the Shins

Garden State may as well be called The Shins: The Film. Zach Braff has voiced his admiration for James Mercer and the Shins time and time again, even collaborating again for his 2014 film, Wish I Was Here. There is not much to say that hasn’t been said already about these tracks off of Oh, Inverted World (2001). They’re unassuming at first, then immediately hit you with a sense of nostalgia with the fervor of a ton of bricks. Like much of Mercer’s expansive discography (including his work with Danger Mouse), his music practically oozes cinema. 

“In The Waiting Line” by Zero 7

“Do you believe / In what you see? / There doesn’t seem to be / Anybody else who agrees with me.” This lyric alone just about sums up Andrew’s journey in Garden State. Zero 7’s ambient hit is a total earworm that begs for repeated listens with its casual approach to its nihilistic subject matter. 

“Lebanese Blonde” by Thievery Corporation 

One of the more unique tracks on the soundtrack, “Lebanese Blonde” takes from many musical styles like electronic and Indian classical. While the instrumentation is the stand-out, the lyricism fits the tone of the film. Take this snippet for example that literally mirrors Andrew’s relationship with his mother and Sam: “A satellite recalled your voice / Sent me round the world again.”  

“Such Great Heights” by Iron & Wine

Iron & Wine’s acoustic cover of the Postal Service’s “Such Great Heights” is suited best for a rainy fall day. It’s sleepy and sentimental. As Samuel Beam sings the iconic line, “But everything looks perfect from far away,” you can’t help but also feel his dreadful sense of admiration. 

“Let Go” by Frou Frou

One of my favorite songs of all time. Seriously. Imogen Heap and Guy Sigsworth have an otherworldly ability to take you on a sonic journey through experimental vocals and instrumentation. The upbeat tempo and strings blend with Heap’s longing performance in such a remarkably wonderful way. “‘Cause there’s beauty in the breakdown” is a mantra not only for Garden State, but for many of our lives.