There’s no franchise in the superhero subgenre as linked to music like James Gunn’s Guardians of the Galaxy trilogy. More than a traditional score, the pop music Gunn infuses in his space opera comic book movies have become synonymous with the Guardians movies’ identity. As much as there is anticipation for Guardians of the Galaxy Vol. 3, there has been equal hype around what will be on the last soundtrack — the Awesome Mix Volume 3. Thankfully, ahead of the last installment, James Gunn and Marvel Studios have officially released the soundtrack ahead of the movie.
Before we get into what’s featured on the track list, a quick note about needle drops in movies. There’s a unique relationship between movies and soundtracks. If done well, songs enhance any given scene as subtext, tapping into a given character’s internal or external circumstances. It can even give the audience a further insight into who a character is — for instance if a song is introduced diegetically as a character turns on a song, it could express the type of person they are. Some of the best directors are uniquely known for how they curate their soundtracks together. Martin Scorsese, Quentin Tarantino, Edgar Wright, and Wes Anderson are just a few well-known directors who do this exceptionally. And then, there’s James Gunn and the Awesome Mix.
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“Many say the moon is closer to the dead.”
This is COLOR OF A MIRROR, my debut novel with an original, dark ambient soundtrack by composer Josh McCausland to go along with it.
Written, designed, and published by me, it’s the culmination of years of work, and it’s exactly the story I wanted to tell. It’s not loud or bombastic, but rather a cerebral, slow-burn cyberpunk narrative lingering on themes of fame, paranoia, religion, and technology. If you’re a fan of the brooding futures of William Gibson, Blade Runner, or anything with a mood like the movie Drive, I think you’ll find something to love here.
Available exclusively on my website, it comes in limited edition deluxe-hardcover, softcover, and e-book. (And if you’re a vinyl lover, the soundtrack is pressed in 180g Moondust White; also available on my site.)
Welcome to the Dive. Hope to see you around.
-Dan
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colorofamirror.net
(Book photos by Josh McCausland.)
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discussing that horror imitates our fears as a society and culture and a perfect example is Godzilla because he represents the sheer terror of the nuclear threat/aftermath of WW2 that japan had to make sense of so they created him and recent films made by the Japanese are depicting him back in original form where he wreaks havoc to their lively hood and shames the western version of his character and i firmly belief that only the Japanese should have access to his IP because they know the true depth of why he exists and-
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scopOphilic_micromessaging_907 - scopOphilic1997 presents a new micro-messaging series: small, subtle, and often unintentional messages we send and receive verbally and non-verbally.
East Williamsburg fence: Part 1
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I kind of wish the boxart for S2 was as detailed as S1's for some more uniformity as opposed to a stark contrast with a shift to minimalism, but I do really love how angelic they look here.
Little lost souls adrift in the vast ocean of fate who don't deserve the burdens they bear on their shoulders, but bear them they do, and together they'll be the ones to change the world.
(Edit by evasurichan/mikevesano)
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As one of my favorite Disney films, I was excited for the Beauty and the Beast live-action to see the new takes on the timeless fairy tale and classic Disney film. While not perfect (what is?), I thoroughly enjoy the film and the original motion picture soundtrack. Alan Menken returns to supply the score and music with Howard Ashman and Tim Rice lyrics. Most of the songs in the Beauty and the Beast original motion picture soundtrack are the same as the animated feature, with the new cast performing them.
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Pretend I wrote a good caption here lawl
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ok im rewatching the cali scenes and i just noticed something very interesting.
during mike and elevens fight they used the song Eulogy from season 2. it’s a slightly newer version but undeniably the same song. this song first plays when nancy is crying over barb in barb’s family’s bathroom. then in this season we hear a different version of it when max is reading the letter to billy.
then i went and checked if it played during hoppers “death” and bobs death. it didnt play for either of their final scenes but for bob it played later that episode when joyce is alone grieving and hopper joins her.
the song has only ever been associated with death and people who have already died. this is the first time theyve used that song for something that isnt a character death. i think they chose that song during their fight to signify that their relationship is dead and has been for a long time.
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