The Electric State (Alan Silvestri, 2025)

[Thor 9,304]

https://filmmusicreporter.com/2024/05/02/alan-silvestri-scoring-anthony-joe-russos-the-electric-state/

 

This is intriguing. I love Simon Stålenhag's work, but I never expected there to be a film adaptation of this (and certainly not from Hollywood A listers such as the Russos and Silvestri). But I guess TALES FROM THE LOOP opened some doors.

 

If you're not familiar with Stålenhag's work, I recommend taking a look at his gorgeous artworks, which insert sci fi elements into very mundane, Scandinavian surroundings. Stålenhag is also a good composer, and did this SUPERB concept album based on his own THE ELECTRIC STATE work. If you like moody Vangelis, this is right up your alley:

 

 

I doubt Silvestri will take a similar approach, but nothing would please me more than if he reawakened some of his 80s synth roots for this.

[Muad'Dib 1,929]

Hey, interesting!

[Edmilson 10,347]

It's nice to see Silvestri working again with the Russos after the Avengers movies. 

[Bayesian 1,509]

Although Silvestri’s music doesn’t often do much for me, I’m glad he’s still getting plum assignments. The Electric State looks to be a very interesting movie, as does Zemeckis’ Here, and both are coming out this year!

[dyemery 6]

An admittedly interesting pick.

 

Couldn’t be less interested in an upcoming Russo Brothers flick even with that.

[Edmilson 10,347]

As much as I like their Marvel work, everything they did after that was really bad. There's that generic and forgettable spy movie with Ryan Gosling and Chris Evans that cost Netflix $200 million and that Amazon show that was also uber-expensive and no one watched it.

 

Still, looking forward for the Silvestri score.

[Thor 9,304]

13 minutes ago, Edmilson said:

As much as I like their Marvel work, everything they did after that was really bad. There's that generic and forgettable spy movie with Ryan Gosling and Chris Evans that cost Netflix $200 million and that Amazon show that was also uber-expensive and no one watched it.

 

What Amazon show?

 

THE GRAY MAN was rather disappointing and generic, yes. I haven't seen CHERRY.

 

But as producers, they've done some fine things post-Marvel. The two EXTRACTION movies and RELIC are great. Also, the super-chilling show FROM -- very Stephen King.

[Edmilson 10,347]

5 minutes ago, Thor said:

What Amazon show?

 

This one:

 

https://en.wikipedia.org/wiki/Citadel_(TV_series)

 

It was crazily expensive but still pretty bad according to critics:

 

https://www.rottentomatoes.com/tv/citadel/s01

[GerateWohl 5,875]

I enjoyed Gray Man and Citadel quite a lot.

[Edmilson 10,347]

I guess their biggest dream is to direct a Bond movie. I don't think EON would say no to them after they made two movies that grossed over $2 billion dollars each.

[tomsmoviemadness 4,180]

First bit of Silvestri's music in this clip

 

 

[Thor 9,304]

Yikes, that was not AT ALL what I had expected. I thought it would be closer to the calmer, philosophical, mysterious underpinnings of the Stålenhag origins. Closer to TALES FROM THE LOOP. But this was straight-up lightweight pap. But I suppose I'll be able to enjoy it for what it is, once I rid myself of those expectations. Looks to be an entertaining romp.

 

Alas, no old-school Silvestri synths that I could hear (in that clip, at least), but the melodic orchestral stuff in the beginning was pretty nice.

[Muad'Dib 1,929]

Was expecting some synths as well, but maybe they'll be featured on the main theme? Who knows.

 

But yeah, that particular clip doesn't look very good.

[crumbs 15,456]

Firstly, this film looks utterly awful.

 

Secondly, the music is obviously a synth demo.

[Muad'Dib 1,929]

The movie comes out in about two weeks. Do we have any info regarding a score release?

[Lady Dimitrescu 9,722]

This movie seems more like something Henry Jackman would score.

[Will 2,296]

On 26/02/2025 at 8:02 PM, Muad'Dib said:

The movie comes out in about two weeks. Do we have any info regarding a score release?

 

Looks like the album is coming this Friday!

 

Looking forward to this score.

[Lady Dimitrescu 9,722]

I bet it'll be drowned out by effects.

[Jay 42,232]

 

1 We're Always Connected 2:45
2 The Year the World Changed 4:26
3 Do You Feel the Air on Your Face 3:08
4 Kid Cosmo Arrives 3:12
5 It's Time to Zoom 3:04
6 The Dr. with the Glasses 4:25
7 Power Save Mode 1:44
8 Not Some Spring Break Hot Spot 3:50
9 He's Marked for Deactivation 1:56
10 Scavenger Bots 3:34
11 See Where the Day Takes Us 2:33
12 The Cradle of a New Mechanized Civilization 2:57
13 Kid Cosmo Movie Night 3:03
14 Nothing but Oil Stains and Screws 3:24
15 What's the Call Pops 3:41
16 The Butcher of Schenectady 3:43
17 Consequences 3:37
18 You're Not Alone 3:20
19 Here's Johnny 3:22
20 Poor Taco 3:48
21 God Bless America 4:06
22 It's Coming from Me 2:45
23 We're Running out of Time 3:41
24 The Day Is Ours 1:02
25 We Live 1:38

Total Time - 78:44

 

https://music.apple.com/nz/album/the-electric-state-soundtrack-from-the-netflix-film/1796040767

[Muad'Dib 1,929]

 

[Thor 9,304]

First three tracks great....the rest less so. Review coming soon.

[crumbs 15,456]

I'm completely shocked. Even the trailers couldn't hide the giant turkey they had on their hands.

 

Quote

“The Electric State” Reviews Are In

 

With 18 reviews in on Rotten Tomatoes, the film has debuted with just a 22% positive score and a very dire 2.9/10 average rating.

 

https://www.darkhorizons.com/the-electric-state-reviews-are-in/

[Anthony 799]

The first three tracks and the second half of The Dr. With The Glasses is the best I've heard of this score so far. I've still got the rest to go.

[Knight of Ren 1,262]

It's a fun score. On a first listen I found it okay, but after a couple more listens, I like it a lot more. If you're a fan of Silvestri, it's nothing groundbreaking or innovative, but still solid fun. The middle of the album drags a bit and some tracks don't do much for me, but the opening and ending cues are great and there's some nice action tracks, as well as a couple of recognizable themes!

 

The movie looks pretty bad but I hope it's at least mildly enjoyable, and I'll probably watch it to hear how the score works in context.

[filmmusic 2,575]

I just listened to the soundtrack.

Decent..

[A24 4,787]

The poster already admits it's a 2/10 movie.

[Edmilson 10,347]

Just finished my first listen. This score commits the cardinal sin that no Silvestri score should ever do: it's boring. A huge chunk of the album are boring and meandering tracks. Some decent moments to be found in a few places though.

 

The action music is surprisingly more "Back to the Future-y" that I expected, crossed with his MCU scores.

[Muad'Dib 1,929]

I'm not sure why Alan likes to do these long-ass albums... The score is fine, the orchestra sounds very nice but it drags a lot as a listen. Shouldn't be longer than 50 minutes or so and would be a great listening experience.

 

A main theme or end credits suite would have helped a lot as well. Right now the themes don't precisely pop-up in your face. 

[Richard P 4,735]

I'm 10 tracks in and it's reasonably interesting - typical Silvestri strings, brass and tension scoring. Feels like a small ensemble too - outside of a few action bits, it's almost like a futuristic chamber score. It's far from boring to me, but I think they could've hired someone an awful lot cheaper and sacrificed little in the quality or thematic department.

 

It's the sort of thing I'd imagine him doing for a 4th BTTF movie, down to the twinkly main theme and period brass outbursts. It's safe to say that Silvestri doesn't seem to have a lot of range when in this sort of drama mode.

 

---

 

Near enough to the end now - it's a bit like a very extended concert work - sometimes I drift away a bit for a minute, then come back. Sort of a background thing, and not a score that has clear highlights, but also not one that has any truly dead air - it's just sort of there. Not inconceivable that I could end up purchasing if a subsequent listen goes similarly.

[Knight of Ren 1,262]

I watched the movie and it's okay. Not terrible, but there's nothing particularly remarkable about it, which makes it completely forgettable once you're done with it. I did like Silvestri's score in context, and even though it's a bit derivative of some of his work for other sci-fi/adventure films, it's quite enjoyable, and I did a review on my blog if anyone wants to check it out.

 

Also, I have done a shorter album presentation that brings it down to around 45 minutes, keeping what I feel is the best material. You could still take some tracks out but I think it works great as a listening experience this way, although I still feel the album needed some kind of suite at the end.

Spoiler

01 We're Always Connected

02 The Year the World Changed

03 Do You Feel the Air On Your Face

05 It's Time to Zoom

06 The Dr. with the Glasses

09 He's Marked for Deactivation

10 Scavenger Bots

13 Kid Cosmo Movie Night

14 Nothing But Oil Stains and Screws

17 Consequences

19 Here's Johnny

20 Poor Taco

23 We're Running Out of Time

24 The Day is Ours

25 We Live

 

[GerateWohl 5,875]

The film had some amusing moments, but it failed in all moments where it (probably too obvious) tried to involve me.emotionally.

The score really works great in context. But as often it doesn't do much for me on album. 

And why did they play Wonderwall at the end? I found almost every decision how to end this movie questionable. 

[artguy360 2,007]

I found the movie overall kind of meh. I'm disappointed that it doesn't take up the major themes of the graphic novel its based on. Concerning the music, I found the use of needle drops excessive and distracting. Since the first Guardians of the Galaxy, needle drop songs have lost all their entertainment value for me. The score itself is ok, it evokes some Amblin/Spielberg vibes.

[Muad'Dib 1,929]

This little bit right here sounds straight out of one his 80's scores, particularly the interplay between the brass and the strings:

 

 

[Thor 9,304]

I thought I had posted my review here last week, but apparently not. Anyways:

 

https://celluloidtunes.no/the-electric-state-alan-silvestri/

[GerateWohl 5,875]

11 minutes ago, Thor said:

I thought I had posted my review here last week, but apparently not. Anyways:

 

https://celluloidtunes.no/the-electric-state-alan-silvestri/

You did. But it probably got lost at the 20 hour flashy-thinging of the forum.

[Lady Dimitrescu 9,722]

It was just a figment of your imagination.

[Edmilson 10,347]

I wasn't a fan of the score when I first heard it but now I'm slowly warming up to it. Either way, I'm glad that the Russos keep hiring Silvestri, even if only for their more expensive movies*. Otherwise he'd be stuck with Zemeckis' CGI nightmares.

 

Have no interest in the movie itself. Pitch Meeting and the reviews convinced me there are better ways I can spend a couple hours.

 

*No, that doesn't mean I want Silvestri in their gritty spy bullshit like The Gray Man or Extraction or whatever. For those Herny Jackman is the best choice, even if I won't hear the scores myself.

[ddddeeee 485]

I get that many of our favourite composers have distinct styles, but I feel like most of their voices have developed (for better or worse) over the years. For example, a 2020 James Newton Howard fantasy score will sound different to a 2010 one which will sound different to a 2005 one - despite them clearly being from the same composer and despite them ranging (wildly) in quality. I find that fun - 'this is when he loved this sort of sound' - 'this was clearly written after such and such other score.'

 

I don't get that with Silvestri. It feels stagnant. His action music for an alien army fighting a group of superheroes in an Avengers movie sounds the same as the music for a foot chase in another movie.

 

I definitely echo the sentiment that I'd rather Silvestri farm out one of these than some lesser composer, but it still bums me out a little.

[Edmilson 10,347]

That's Silvestri, he has his style and he didn't change it nor will he in his career. Some may like that, others don't. I'm fine with it because I generally tend to like his style, but I understand others who feel he may lack some variety.

 

That said, working with the Russo Bros he has had the chance to write some music in a style I don't remember he attempting before (or at least not in a while).

 

It's the emotinal elegiac stuff from Avengers ("Even For You", "I Feel You", "Portals", "The Real Hero") or here ("We're Running out of Time"). Thanos' material (more subdued and menacing than outright evil and bombastic) is also him attempting stuff outside of his comfort zone. And Endgame even had him returning to his jazz routes for when the team is preparing the Time Heist.

 

For me, the only thing an Alan Silvestri score CAN'T be is boring. Electric State comes dangerously close to being boring sometimes, but there's some good enough stuff in there to save it.

[Lady Dimitrescu 9,722]

It still feels organic and a little rough and gruff like a human being wrote it instead of a composer computer.

[Tom Guernsey 3,191]

1 hour ago, Edmilson said:

That's Silvestri, he has his style and he didn't change it nor will he in his career. Some may like that, others don't. I'm fine with it because I generally tend to like his style, but I understand others who feel he may lack some variety.

I think his style was more varied in his earlier days though and it did evolve from his more pop style scoring to BTTF and the increasing quality of his symphonic writing - I always thought a lot of his earlier action writing was a bit repetitive and uninspired, but with things like The Mummy Returns, it got more complex and interesting. Plus some interesting outliers such as Ellie's Bogey in Contact.
 

I haven't yet listened to Electric State... I guess I've been put off by the somewhat lukewarm response so haven't rushed to put it on. However, I did enjoy Here a great deal and agree that Welcome to Marwen was terrific. His score for the Witches was fun but I was a touch underwhelmed by Ready Player One (not even in a "it's not JW" - it just didn't excite me that much) and haven't really loved any of his Avengers efforts. I don't really know why though...

 

He's still a composer for whom I'll get anything he writes, but his style has certainly plateaued quite significantly in the last 20 years or so. Compare to say Danny Elfman or JW or Jerry Goldsmith or even James Horner, who all have fairly distinct periods within their back catalogues.

[Edmilson 10,347]

I think if you look (or rather, listen) hard enough you'll be able to spot small differences in the style of writing in his action scores.

 

In general it's mostly the same tropes, but for example, Mummy Returns is more swashbuckling, Van Helsing is more gothic, G.I. Joe is militaristic. In Beowulf there's a mix between old school orchestra and choir with more modern synths. Meanwhile, Captain America is a throwback to 80s and 90s earnestness.

 

The Avengers 2012 has him going in the "bigger is better" direction - you can almost hear Joss Whedon and Kevin Feige pushing him to be more epic, more dramatic, more grandeur. Then on the Russo movies there's the emotional scenes and Thanos' stuff that I mentioned that go outside of what he was doing in recent years.

 

So yeah, you may like his style or not, and if you don't you'll find yourself ignoring most of his scores as they don't stray much from the usual... But once you spot the differences they become easier to differentiate.

[tomsmoviemadness 4,180]

Silvestri is at his best when he gets to wrote a score with one or multiple strong themes.

 

BTTF, Ready Player One, Forrest Gump, Here, Avengers. When he goes to town with those theme, he's among the best to ever do it.

 

I think some of his scores from the last couple years, like Pinocchio, The Witches, maybe The Electric State, have a thematic core that isn't as strong, he sometimes falters a bit.

 

Whatever the case is, I always enjoy his music, if his lesser work, and am a glad a composer like him is still working regularly.

[Edmilson 10,347]

15 minutes ago, tomsmoviemadness said:

Whatever the case is, I always enjoy his music, if his lesser work, and am a glad a composer like him is still working regularly.

Me too. I like his style so even when it's one of his lesser works I'm still entertained by it.

[Knight of Ren 1,262]

Yeah, this isn't his strongest score but even so, there are some nice bits here and there, although they don't rival his score for Here, which was one of my faves last year.

 

And his work for Marvel has been some of the best we've heard in the franchise, and he's one of the few keeping the musical continuity, at least within his own works. Really interested in hearing what he will do for Doomsday and Secret Wars!

[Lady Dimitrescu 9,722]

I remember even members of this forum accusing his first Avengers score of sounding "too MV/RC" when it was first released, but it never sounded anything like that bland Zimmer factory slop.

[Knight of Ren 1,262]

Yeah, I get the feeling that the first avengers is perhaps too "modern sounding" at some points, like in the credits arrangement of the Avengers theme, but otherwise it's very close in sound to Silvestri's standard superhero/action works. My favorite of his Marvel scores I think would be Infinity War. All the musical depth he brought to Thanos was perfect!

[Lady Dimitrescu 9,722]

No Zimmer score or anything by his minions could sound like that. Henry Jackman has attempted to pastiche it in his Jumanji scores, The Predator, and Kong: Skull Island to an extent, but even those are lame and can't get it right.