The Hip-Hop and Trap Music inspired soundtrack of Spider-Man: Into the Spider-Verse featuring artists like Post Malone and Juice WRLD is nothing short of awesome.
- The Vince Staples piece used in the first trailer and the end credits, "Home
", is extremely catchy and has an awesome sound to it. - The second trailer gave us "The Boogie" by Outasight. "Jump! Jump! Higher, baby!"
- "Sunflower" by Post Malone and Swae Lee, created for the movie, which became a chart topper.
- "Familia", the song Miles listens to as he goes through his neighborhood, introducing us to a warm, vibrant Afro-Latino community that Miles is proud to be a part of.
- "Scared of the Dark", an intensely melancholy song that captures the feeling that's sweeping New York City as they learn about the death of Peter Parker.
- "Elevate" by DJ Khalil, which plays during the end credits and is a Boastful Rap that can be interpreted as being from the perspective of any of the Spider-People (though the song namedrops Peter Parker).
- The Prowler's Theme; the first half will have you feeling incredibly tense with absolute fear as you feel the eyes of a relentless predator hunting you as it howls into the night. The second half perfectly captures the shock and heartbreak going through Miles' head upon the revelation that his beloved uncle is one of the people trying to kill him (albeit unknowingly), and the high-octane nightmarish chase sequence that occurs soon after.
- "To The End" by Elliphant plays as Gwen's entrance song during her origin flashback. Although it didn't make the official U.S. soundtrack, it still works as a pumped-up hard-rock/techno power song that fits her fighting style. Considering she's a drummer for a band in her universe, it might be a song she plays back home.
- Japanese marketing for the film went in a different direction than English-language promos in terms of music. While regular trailers used hip-hop and rap, Japan opted to go for more hard rock. Which means we get the truly epic "P.S. RED I" by TK from Ling Tosite Sigure.
- There are two brass themes in the movie, one for Spider-Man, and one for Miles Morales.
- Spider-Man's theme (most of which is in "Only One Spider-Man") is a repeating three note motif that continually rises in pitch and power. Much like how Spider-Man himself always rises after being knocked down, again and again.
- Miles has a lower brass theme that plays during several important character moments, and most triumphantly when he gets up after Kingpin knocks him down.
- Notably, there are two major moments in the movie where a scene starts out with Miles's theme, then turns into Spider-Man's theme: When Peter A is explaining the job to Miles, it starts with Miles's theme, but when Miles makes the promise, it transfers to Spider-Man's. And during the famous "What's Up, Danger" sequence, Miles's theme plays behind the song until he lands on the gargoyle, where Spider-Man's theme emerges triumphantly.
- Spider-Man's theme (most of which is in "Only One Spider-Man
- A Very Spidey Christmas, in its entirety, is packed with hilarity, but special mention has to go to Chris Pine's Spidey Bells (A Hero's Lament), as Peter Parker gradually collapses into the world's most meta-textual crisis of conscience.
- "Hide" by Juice WRLD featuring Seezyn is a slightly sad pop song that plays when Miles overhears the Spider-Men doubting him.
- "Visions Brooklyn 1 2 3", perfectly emulates the unease and discomfort that Miles is experiencing as he first discovers his powers and all the insanity that comes with them. The whistles only make it even more awesome.
- Spider-Ham's theme is essentially the 1967 Spider-Man theme, but with altered lyrics.
- "What's Up, Danger" by Blackway and Black Cavier, a catchy hip-hop theme that plays when Miles finally embraces and becomes Spider-Man.
