 According to Drew Miller of Stylus , the soundtrack " [ gives ] unconscious voice " to the characters ' psyches and complements the subtext . The most obvious use of pop music " accompanies and gives context to " Lester 's attempts to recapture his youth ; reminiscent of how the counterculture of the 1960s combated American repression through music and drugs , Lester begins to smoke cannabis and listen to rock music . Mendes ' song choices " progress through the history of American popular music " . Miller argues that although some may be over familiar , there is a parodic element at work , " making good on [ the film 's ] encouragement that viewers look closer " . Toward the end of the film , Thomas Newman 's score features more prominently , creating " a disturbing tempo " that matches the tension of the visuals . The exception is " Don 't Let It Bring You Down " , which plays during Angela 's seduction of Lester . At first appropriate , its tone clashes as the seduction stops . The lyrics , which speak of " castles burning " , can be seen as a metaphor for Lester 's view of Angela — " the rosy , fantasy @-@ driven exterior of the ' American Beauty ' " — as it burns away to reveal " the timid , small @-@ breasted girl who , like his wife , has willfully developed a false public self " . 
