Elfman, to the surprise of even some of his regular co-workers, dropped the brass and percussion sections of the orchestra. He bloated the woodwind section to an all new high, with nine alto and bass flutes. On the album, the effect is disturbing. The score is alienating and cold, with very subtle themes and a lack of anything rewarding. The opening and closing titles feature much of the same off-kilter electronic base as which can be heard in A Civil Action .
Distant violins perform simple background accompanyment for the flutes, banjos and pianos.
The score has one solid bright spot, as well as one major irritation. The previous track, however, is the most unlistenable on the album, with two minutes of degeneration into sheer noise and sound effects. It is an original and lonely piece of music, and surely not an album that will cheer you up. It stands at a distance and builds on you, producing a recognizable, yet unsatisfying climax in track 11. Elfman's creativity has ironically flourished to the smallest and simplest level yet, leaving me yearning for even the Mambo del Flubber.