Metro Boomin – Metro Boomin Presents Spider-Man: Beyond the Spider-Verse :: OndaRock Reviews

One of the most creative animated films of recent years, the amazing “Spider-Man: Into the Spider-Verse” (2018) with the single “Sunflower” by Post Malone and Swae Lee achieved incredible commercial results: 2.7 billion Stream On Spotify, Diamond disc in the United States, Canada and Mexico, and about forty others platinum in the world. That soundtrack, and that film, was a wonder: a colorful and unpredictable eight-footer with multiverse music that came to life with the pop-rap world. mix of urgency and nostalgia, placing Vince Staples with Nicki Minaj, Lil Wayne with Post Malone, Juice WRLD and XXXTENTACION.
for new film, for editing song music Most quoted manufacturer in the world comes pop-trap-r’n’b Present, Metro Boomin, with its fusion of dark synths and bass-burst cadences could easily explain the film’s emotional chiaroscuro. An artist who titled his two studio albums “Not All Heroes Wear Capes” (2018; a showcase of his talents) and “Heroes & Villains” (2022; a confirmation without big surprises) to attest to his interest in the world of superheroes Gave. comic book aesthetics.

“Metro Boomin Presents Spider-Man: Across the Spider-Verse” features a host of guests, many of whom have already collaborated with the producer (Sway Lee, Lil Wayne, Offset, ASAP Rocky, Future, Lil Uzi Vert, JID, James Blake, A Boogie Wit da Hoodie, EI8HT, Don Tolliver, 21 Savage, 2 Chainz, even Nas). this is a product incorporatedDesigned to serve the respected and most transversal market, the aim was to rebuild, build on the success of the first film and engage song music, that mix of urgency and emotion. Surprises, the unexpected, are not part of the unexpected design, which nevertheless achieves greater coherence thanks to the guidance of Metro Boomin and the apt Tea Taken straight from the movie, a strong link with the main product.
The dark pop-trap music of “Annihilate” brings out the entire set’s offering at its best, with the following “Am I Dreaming,” even more radio-friendly with riff

orchestrated, to push towards a worldwide urgency.

More often, Metro Boomin puts it on autopilot, accompanied by various guests: for example Future plays himself on “All the Way Live” in much the same way that Offset stamps a presence on “Danger (Spider)”. Also fades in compared with Flow JID engagement.
Certainly James Blake’s presence in the long-winded “Hummingbird” is curious, a soulful voice fluttering Beat The airy trap more than famous for Metro Boomin; Better when he returns for “Nonviolent Communication”, where A$AP helps add variety to the rap track from Rocky and 21 Savage. The juxtaposition, if you look closely, is a more pervasive trend: even relatively short pieces, such as “Calling” and “Self Love,” are diluted by dark endings and subtly hallucinatory repetitions, characteristic made it the creator among many others but which now sound familiar.
To close comes Nas in “Nas Morales,” which tries to unite a hardcore-hip-hop feel with a gothic palette. Beat By Metro Boomin: This is a somewhat schismatic result, but still better integrated than Fest Latin

“Silk & Cologne” (who doesn’t really see Metro Boomin among producers…).

The Metro Boomin soundtrack partially complements the film’s story and underpins some particularly emotional moments, but also slips through some of the viewing and isn’t able to rival Spider-Man’s multi-faceted return to cinema Is. more than a superhero feat, the the creator And the various guests did their thing like pros, often taking advantage of ideas they’d already heard.

06/17/2023