Synths and drums have been Metro’s bread and butter for years, but even he gets stuck in a rhythmic tar pit every once in a while. They bring the same pomp to “Am I Dreaming,” their synthetics meshing well with orchestral string section flourishes-it sounds like an end credits song ( which it is) in the best possible way.įor all the excitement, some of the beats skew extra generic, even by soundtrack standards. On opener “Annihilate,” co-producer Mike Dean’s synths flood Metro’s canvas of drums and samples like food coloring in a glass of water, creating a foreboding and jumpy digital atmosphere. Whatever sound he’s toying with, there’s a grand spectacle to his beats that can power a party anthem or bolster a bars-first exhibition. Metro’s music has always had a cinematic flair to it. Fresh off the success of his recently platinum-certified 2022 comeback album Heroes & Villains, Metro takes a serviceable stab at crafting music to swing to. For the soundtrack, they’ve come with something equally inspired, at least on paper: Atlanta superproducer Metro Boomin is its executive producer, doing for the Spider-Verse what Kendrick Lamar did for Black Panther and Wakanda back in 2018 (complete with his own in-movie cameo). The film itself comes with more ambitious animation, a more mature plot that deconstructs the Spider-Man character’s archetypal DNA, and a boatload of comic book Easter eggs. Into The Spider-Verse became an adored modern classic of the superhero genre and its soundtrack, a cohesive if overbearing album in its own right, went on to chart at the top of the Billboard 200, thanks in no small part to the runaway success of “Sunflower.” That left its sequel, this year’s Spider-Man: Across The Spider-Verse, with some humongous Jordan 1s to fill. (It wasn’t even originally supposed to be in the movie: the team initially wanted Miles to sing Childish Gambino’s “ Redbone” but after Jordan Peele’s 2017 breakout Get Out used the song in a similar way a year prior, they picked “Sunflower” at the last minute from a batch of already completed songs sent by Republic Records.) Other songs tackled the movie’s themes of identity and adolescence in ways subtle and blatant, but without references to swinging, masks, or arachnids of any kind, Post Malone and Swae Lee’s “Sunflower,” a track about two strung-out dudes leading a girl on, took on a life of its own. It’s a nifty start to the coming-of-age story that endears him to the audience in a matter of seconds. In that film’s opening scene, our protagonist Miles Morales sings the song very off-key before he’s interrupted by his parents. There’s a simple reason that “ Sunflower,” a single from the soundtrack to 2018’s Spider-Man: Into The Spider-Verse, became an Earth-conquering smash hit: It works outside of the context of the movie.
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