As the middle chapter of the Multiverse Saga, Phase 5 marks the return of MCU musical veterans like Christophe Beck and Laura Karpman. But it also sees a wave of new composers joining the franchise, from John Murphy (Guardians of the Galaxy Vol.3) to Kris Bowers (Secret Invasion). Due to some series being multi-season, the upcoming TV series are still split into their own page.
- Ant-Man and the Wasp: Quantumania: Christophe Beck returns as the Ant-Man composer, completing the Trilogy and making him the second MCU composer to remain on a sub-franchise for all its installments (Michael Giaachino precedes him on the Spider-Man Trilogy). The "Theme from Quantumania"
sounds both like a natural evolution of the previous Ant-Man scores while embracing the psychedelic nature of the Quantum Realm. The new theme also feels more mature and epic, musically underscoring the stakes of this third installment and the threat Kang poses. - Guardians of the Galaxy Vol. 3: As per usual with James Gunn movies, there are awesome needle drops aplenty, this time with a fair few '90s tunes mixed in with the boomer/gen-X sounds of the first two installments.
- In a movie focusing on Rocket's past as an unwanted genetic experiment, with an opening meant to demonstrate the loneliness of basically everybody on Knowhere, "Creep" by Radiohead is a very fitting choice, specifically the stripped-back, mournful acoustic version.
- As the Guardians head off to Orgocorp to find a way to turn off Rocket's kill switch, "Since You Been Gone" by Rainbow sets the mood for a hopeful adventure, combined with emphasizing Rocket's few good memories as a child.
- "In the Meantime" by Spacehog, played while the Guardians are launching from the Bowie and into the orgoscope, is quintessentially the best song in the film. Its spaciness fits the atmospheric tone perfectly.
- Seeing Drax beating up Orgocorp scientists and Peter sending them hurling set to "Reasons" by Earth, Wind & Fire is nothing short of incredible.
- "Do You Realize??" by the Flaming Lips manages to display the perfect level of poignancy following Peter's moment of self-reflection after his fight with Gamora.
- "We Care a Lot" by Faith No More sets the scene rather well for the Guardians' first landing on Counter-Earth.
- "I'm Always Chasing Rainbows" by Alice Cooper, punctuating Peter and Nebula's rather depressing drive through the streets of Counter-Earth.
- As Peter, Gamora, Rocket, and Groot get ready to raid the High Evolutionary's ship, "This Is the Day" by the The signifies their oncoming showdown.
- "No Sleep Till Brooklyn" by Beastie Boys gets the blood pumping while the Guardians mow through a corridor filled with monsters and soldiers.
- "Dog Days Are Over" by Florence + the Machine, a powerful and bittersweet anthem about parting ways from a traumatic yet foundational part of one's life, is used to immaculate effect as a closer for the Guardians' personal saga.
- On the score side of things, the High Evolutionary's enjoyment of opera is showcased in two pieces: "Mo Ergaste Forn", a hymn-like paean to evolution, if we take the High Evolutionary at his word, and an absolutely heartbreaking reworking of "Dido's Lament" that plays when the High Evolutionary crushes young Rocket's hopes. Its Dark Reprise, "The High Evolutionary", is just as good, with it taking the original hymn and giving it a haunting twist, especially after the High Evolutionary callously kills his own mutinying crew members.
- "It Really Is Good To Have Friends" plays when Rocket and Lylla escape captivity, only for the latter to be shot down in cold blood by the High Evolutionary. Even though we only knew his friends for such a short time, this track does an amazing job at making us feel for Rocket after he gets his friends taken from him.
- For one of the single biggest Tearjerkers in the film, if not the entire franchise, we're treated to "Who We Are" when Rocket finds the litter of kits and comes to accept himself as a raccoon. Frankly, this track in particular is part of the reason why the scene is just that good, scoring Rocket's Character Development throughout the MCU beautifully.
- "Did That Look Cool?", which plays towards the end when Quill nearly dies after escaping the Artete, only to be rescued in time by Adam Warlock. Starts out suspenseful, if not heartbreaking, but gradually shifts to uplifting, then heartwarming. Yes, that did indeed look cool.
- In a movie focusing on Rocket's past as an unwanted genetic experiment, with an opening meant to demonstrate the loneliness of basically everybody on Knowhere, "Creep" by Radiohead
