Awesome Music / MCU Phase 4

aka: Thor Love And Thunder

Continuing the first three Phases of Awesome Music, expect some of the best movie scores and TV scores, along with some good ol' classic tunes, within Phase 4. Due to some series being multi-season, we split the TV series into its own page.

• MCU Disney+ TV Series

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• Black Widow:
  • We Are Gods by Audiomachine fits the epic tone of the Darker and Edgier tone of the superhero.
  • The first track of the score, Natasha's Lullaby, introduces Natasha's theme as though it were a Russian folk song before building into a bittersweet crescendo. Natasha's final outing in musical form.
  • Think Up Anger's haunting cover of Nirvana's "Smells Like Teen Spirit", which plays throughout the opening montage of Natasha and Yelena's days in the Black Widow program, fits the chilling sequence like a glove. It was previously used in the trailer of The Gallows.
• Shang-Chi and the Legend of the Ten Rings:
  • The film's concept album tie-in comprises the works of rising Asian and Asian-American musicians affiliated with the 88rising label, and their unique sound helps highlight the film's being a cultural love-letter to the Asian diaspora.
  • The tracks of the film's soundtrack proper, composed by Joel P. West, also help serve as character Leitmotifs:
    • "Your Father" demonstrates the imposing history of Wenwu's long life of conquest;
    • "The Bamboo Spring" scores his first encounter with Ying Li, setting him on the path to being a better man;
    • "Your Mother" scores his family memories with Ying Li and their young children, highlighting the idyll Wenwu and his family enjoyed before it was taken from them;
    • Xu Shang-Chi, named after the title character, and which notes blend the previous tracks, highlighting the film's main Aesop.
  • Shang-Chi and Katy doing late night karaoke and singing (poorly) to 'A Whole New World', 'Old Town Road', and 'I Don't Want to Miss a Thing'. Later on in The Stinger, we get another round of karaoke, where Shang-Chi, Katy and (surprisingly) Wong sing along to 'Hotel California'. As the scene ends, the singing transitions excellently into the Eagles' rendtion of the song.
• Eternals:
  • The teaser's remix of Skeeter Davis's "The End of the World" has ethereal vocals and pounding drums. Usually, Marvel's licensed trailer songs sound either funny or menacing, but this one is just beautiful. It even made it into the final movie, serving as 'the calm before the storm' by showcasing Phastos with his family.
  • Ramin Djawadi's theme for the film brings in pipe organs of all instruments for the backbone of the piece, with the overall mix reflecting the grandeur of presenting the eponymous group of immortals who have helped fashion humanity since ancient times.
  • Pink Floyd's "Time" plays as the opening scene transitions through the Marvel logo into present-day London, starting off with the song's legendary bass riff.
  • As soon as Ikaris realizes he could never bring himself to harm Sersi despite his steadfast loyalty to the Eternals' original mission and subsequently lends his power to the Uni-Mind to save the planet Sersi loves, "Across the Oceans of Time" plays, with the initial lone wail being answered by a solemn chorus the likes of which Ramin Djawadi only deploys for his most dramatic pieces.
• Spider-Man: No Way Home:
  • "I Zimbra" by Talking Heads, used as the film's opening song, is an utterly tense, yet funky track that's deliberately absurdist and incomprehensible, foreshadowing how much of a quantum rollercoaster the film will end up being.
  • "Sling vs. Bling" allows Michael Giacchino to pit his Doctor Strange and Spider-Man leitmotifs against one another as the themes' heroes battle one another in the Mirror Dimension.
  • "Exit Through The Lobby" is a heartbreaking, moving piece befitting of the tragedies that come with being Spider-Man, especially the death of Aunt May and Jameson's subsequent, somber broadcast blaming Peter for it.
  • “Doom with a View” plays during the scene where Peter is silently grieving May on the roof of his high school, and is then comforted by MJ and Ned as he finally breaks down sobbing openly. It then turns quietly heroic as at long last, all three variants of Peter Parker unite on the big screen, though still sorrowful since Peter-One has almost none of it due to being at his lowest point. And although not heard on the track, the score that plays as Peter laments May’s last words to him is genuinely heartbreaking as well.
  • "Shield of Pain" begins with a frenetic rendition of Doctor Strange's theme that gradually makes way for the glorious, albeit brief, return of James Horner and Danny Elfman's unforgettable Spider-Man leitmotifs.
  • "Liberty Parlance" follows the Spider-Men huddling up after their first stalled attempt to battle Electro, Sandman and Lizard, refocusing and figuring out how to work as a team. It begins low-key, with strings and woodwind and hints of electric guitar and bass building tension, leading into a steadily rising in pitch iteration of Peter-1's leitmotif on flute as he asserts dominance over the group and gets them on the same page, and as the trio leap off the scaffold the crescendo builds to a bombastic full orchestral rendition of the theme, complete with angelic choral singing, as the three heroes dynamically swing into action in the most awesome way possible.
  • “Forget Me Knots” plays during the devastating ending in which Peter-One accepts that the entire universe must forget about him if it is to survive the coming onslaught from the wider multiverse. It perfectly captures the despair and heartbreak as Peter bids farewell to his best friend since childhood, Ned, and the girl who had loved him from afar for years, MJ. The score really swells during Peter and MJ’s Last Kiss, and the climax in which Peter takes a Long Last Look at his loved ones before they forget him has a dramatic choral rendition of his theme, emphasizing that for now, this is goodbye for the character and the end of his life as he knows it. Finally, there’s one last, quiet piano rendition of the theme as MJ looks off at him one more time as the scene cuts to the sunrise as her memories fade, underscoring the tragedy of what Peter has just sacrificed.
  • "Peter Parker Picked a Perilously Precarious Profession", a rendition of MCU Spider-Man's leitmotif that starts out somber and grows more triumphant, as he suits up once again to swing back into the streets of New York City after the movie's bittersweet climax.
  • "The Magic Number" by De La Soul is an upbeat hip hop song that invokes a celebration of all three Spider-Men as it plays during the end credits, and perfectly encapsulates the feeling of New York City's streets, the setting they all live in.
• Doctor Strange in the Multiverse of Madness: The trailer's music progressively embraces the horrors and madness of The Multiverse with epic choirs and droning.
• Thor: Love and Thunder:
  • The teaser features a pensive rendition of "Sweet Child O' Mine" before transitioning to the original version. Thor looks back, remembering his hands, once used for battle, are now "but humble tools for peace", as he plants Stormbreaker in the ground and walks into the sunset. This signifies his journey for inner peace. The official trailer features an orchestral arrangement of "Sweet Child O' Mine", with Jane reuniting with Thor. This time, she's adorned in the Mighty Thor armor and the two venture the universe together.
  • The film itself makes good use of Guns N' Roses; "Welcome to the Jungle" kicks in during the opening fight, "Paradise City" plays over establishing shots of New Asgard, the coda to "November Rain" plays as the Asgardian kids power up for battle, and "Sweet Child O' Mine" plays as the goats pull a Big Damn Heroes in Omnicient City, as well as the closing credits.
  • Michael Giacchino remixes the current Marvel Studios fanfare (which he originally composed for Doctor Strange (2016)) for an epic Eighties-esque rock cover.
  • "Mama's Got a Brand New Hammer": Giacchino gives Jane a kickass thematic suite while following the Eighties tonal influences and direction Mark Mothersbaugh brought to Thor: Ragnarok. Much like Giacchino's The Batman (2022) score released around the same year earlier being a companion piece to Jerry Goldsmith's First Blood score, his score for this film can be considered a companion piece to Goldsmith's exciting electronics-incorporated 80s Rated M for Manly work such as Rambo: First Blood Part II, while at the same time a Spiritual Successor to fellow film composer Laurence Rosenthal's heroic music score to Clash of the Titans (1981) and to fellow television composer Lance Rubin's music score to the 1988 television movie spin-off of The Incredible Hulk (1977), The Incredible Hulk Returns, which also features Thor in a crossover and a rock guitar in the score (interestingly enough, both Rambo: First Blood Part II and the latter Marvel TV film feature the late Charles Napier in the secondary antagonist role).
  • Dio's "Rainbow in the Dark" plays over the credits, and it is a joy to hear.
• Werewolf By Night:
  • Much like how composer Michael Giacchino remixed the Marvel Studios fanfare for Thor: Love and Thunder to go along with the film's thematic, he does the same with Werewolf By Night. Not only does it suddenly shift into a minor-key, more ominous remix, but it transitions smoothly from the end of the fanfare's remix to the opening theme of the special. Oh, and keep in mind, all of the OST's track names have a spooky pun thrown in for good measure.
  • The main theme for the special, as well as Jack Russell's current leitmotif, that plays during the credits. Not only is a masterfully composed dirge written for the special, but it is infused with synthesizer instruments and percussion to give it a much more cooler edge to it. Given how Jack is the titular Werewolf By Night, he marks his territory as a hero and as a monster. This theme only further proves that point.
  • The music that plays for the rest of the end credits is a beautiful, yet very isolated version of the main theme, played on an acoustic guitar. It's almost like a haunted lullaby, even. A perfect piece to end the special on.
• Black Panther: Wakanda Forever: With much to live up to against its predecessor in the music department, it's pleasing to say they outdid themselves once again, with this being one of the most acclaimed soundtracks in the MCU, courtesy of Ludwig Göransson, Rihanna and a number of other artists.
  • First and foremost, Lift Me Up by Rihanna. The movie's main theme, recipient of a number of musical awards (including an Oscar nomination), Rihanna's triumphant return to music and one hell of a send-off for the late great Chadwick Boseman, the song perfectly captures the melancholy and emotional tone of the movie and Shuri's subsequent depression.
  • Con La Brisa, a wonderful song sung in Spanish by singer Foudeqush, wonderfully demonstrates the introduction of the MCU equivalent of Atlantis in Talokan, as Shuri discovers the underwater kingdom for the first time. It really makes you feel as though you're floating beneath the water alongside her, visiting a beautiful place that we can't even imagine.
  • Sirens is beautifully eerie, playing during Talokan's attack on the ship near the start of the film. The first half is a low chant which adds more voices as it goes, before abruptly switching to a downright haunting chant from the Talokanil, signifying the coming oceanic threat. Ludwig Göransson superbly captures the feeling that the Sirens from Greek mythology are singing to you, enticing you to drown in the waters below.
  • Alone is a fantastic track that's a perfect blend of African leitmotif while also being modern and fitting for the Afrofuturism setting Wakanda is in. It also serves as a wonderful inner monologue for the depressed, vengeful yet determined Shuri and plays during one of her most important scenes.
  • Coming Back For You by Fireboy DML wonderfully enraptures the scene the follows it with a mixture of bittersweet acceptance and hope for the people of Wakanda. If one listens to the lyrics, one could also interpret this as a message from Queen Romanda to Shuri. It could also be a beautiful final message of encouragement from T'Challa himself from the Ancestral Plane to his beloved little sister.
  • Ludwig Göransson's original score for the movie is every bit as grand and intricate as the songs, with several being standout examples:
    • "Nyana Wam" is a beautiful piece that serves as a wonderful introduction to the film. With its glorious African chanting and heavy use of drums, it catches the attention of your ears straight away. It starts out regal and strong like Shuri herself, before exploding into a wide cacophony of sound and excitement, though it still has its moments of bleakness. In essence, it perfectly captures the film as a whole.
    • "We Know What You Whisper" is a frightening melody that showcases the enigmatic threat of Talokan and the heart-pounding race to keep them away from Wakanda and the surface as a whole.
    • "Namor" is a fantastic composition of classic Mexican instruments with a very tribal motif, signifying his Mayan origins and his ancient age. It also has a sinister edge to it despite its traditional sound, making it clear that Namor is not the hero of the story.
    • "Vengeance Has Consumed Us" plays during the final confrontation between Shuri and Namor. It begins as a sombre and melancholy tune that goes hand in hand with how far both have fallen and how they must learn the lesson that T'Challa himself learnt some years ago. This leads to its transition to an extremely triumphant fanfare, signifying the end of the victory of Shuri.
    • Last but certainly not least: "T'Challa". An uplifting and emotional piece that perfectly captures the spirit of his character and what he meant to the people of Wakanda, especially Shuri. It is this piece that signifies the end of the war between Talokan and Wakanda.
  • From the trailers:
    • Tems' cover of "No Woman, No Cry" that features in the trailers is quite a heartfelt rendition of the classic Bob Marley song and is well suited to match the tone for the film.
    • The glorious remix of Never Forget that features in the main trailer. It is wonderfully mixed with its native African dialect while carrying the epic superhero vibe the MCU has, reminding the audience of Wakanda's heritage and culture in the process. The magnificent background chanting of "Wakanda! Forever!" only adds to the eargasm you'll have listening to it.
• The Guardians of the Galaxy Holiday Special: Did you seriously think a new GOTG feature would go without a new awesome music entry? No. Behold!
  • Right in the special's opening, the Old 97's (as a group of Ravager musicians, no less) grace us with what will surely become a new Christmas classic: "I Don't Know What Christmas Is (But Christmastime Is Here)." It's absolutely ridiculous. And absolutely delightful.
  • Kevin Bacon himself (along with The Old 97's) saves Christmas and closes off the special with "Here It Is Christmastime", checking off both the feels and the holiday spirit with the perfect number.

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