Scott Pilgrim Vs The World Soundtrack 320kps Download
| Scott Pilgrim vs. the Globe: Original Move Pic Soundtrack | ||||
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| Soundtrack album past diverse artists | ||||
| Released | Baronial 10, 2010 (2010-08-10) | |||
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| Length | 56:55 65:59 (deluxe edition) | |||
| Label | ABKCO | |||
| Edgar Wright moving-picture show soundtrack chronology | ||||
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| Nigel Godrich production chronology | ||||
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| Scott Pilgrim vs. the Earth: Original Score | ||||
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| Film score by Nigel Godrich | ||||
| Released | August 10, 2010 (2010-08-10) | |||
| Genre | Score | |||
| Length | 65:12 | |||
| Characterization | ABKCO | |||
| Nigel Godrich composition chronology | ||||
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Two soundtrack albums were released for the motion picture Scott Pilgrim vs. the Earth: an original soundtrack and an original score. Music producer Nigel Godrich, movie managing director Edgar Wright, and pic producer Marc Platt executive produced both soundtracks, with Godrich as well composing the original score. The soundtrack includes music by Beck, Broken Social Scene, Metric, Blackness Lips, T. Rex, the Rolling Stones, Frank Black and Plumtree. They were released on August 10, 2010; the original score only on digital download. A 2021 re-release saw additional music by Brie Larson added to the soundtrack, and a physical version of the score.
The flick follows a boxing of the bands plot, with the fictional bands each based on a unlike existent music act; production of the soundtrack began several years before the film's release. Though several of the film'south actors (those in the fictional bands Sex Bob-Omb and Crash and the Boys) perform on the soundtrack, the film did non await to cast musicians, but pb histrion Michael Cera could play bass guitar similar his graphic symbol. The actors for the fictional band the Disharmonism at Demonhead recorded for their music, merely were non included on the soundtrack album except as a bonus music video. A song performed by actor Satya Bhabha is included on the score, rather than the soundtrack.
Other songs included are by and large from Canadian and British acts, influenced by British producer and director Wright, and the Scott Pilgrim graphic novel'southward Canadian author Bryan Lee O'Malley. The soundtrack was released on the label ABKCO Records, which too immune the utilize of a song past the Rolling Stones for the moving-picture show and album.
The soundtrack peaked at number ii on the U.S. Billboard soundtrack chart, also charting in other countries. It received generally positive reviews; the original song "Nosotros Are Sex activity Bob-Omb" won a critics' award and was nominated for 2 others.
Groundwork and production [edit]
Music is an important element of the Scott Pilgrim story, with chord progressions for a song being performed past the characters first actualization on folio fifteen of the offset graphic novel.[1] Music producer Nigel Godrich oversaw the music for the moving-picture show, which he was nervous almost because of how bad bands in films usually look and sound, sentiments echoed by lead actor Michael Cera. While working on the film, Godrich said that he would have to ask himself "is this as good as Spinal Tap?"[2] Godrich became involved with the soundtrack when Wright, who had been a friend for many years, called him request for recommendations on a music producer who could handle both the soundtrack and score.[three]
Beck wrote many songs for the soundtrack, and was the artistic basis of the fictional band Sex Bob-Omb.
Interviewed by Den of Geek, Edgar Wright said that he and Godrich "worked on the soundtrack for most two years [with] this idea that each of the fictional bands within the film should take a dissimilar artist doing them. So, information technology was sort of like casting. [...] And nosotros merely, basically, blood-red picked our ultimate fantasy list of bands to do it."[4] Michael Cera, who plays Scott Pilgrim, said that he was excited to piece of work with Godrich; actors Cera, Mark Webber, Alison Pill, and Johnny Simmons all recorded music for the soundtrack every bit their characters' band, Sex Bob-Omb. Cera could already play the bass guitar, Scott's instrument, but Webber, Pill, and Simmons had to learn their instruments[four] [five] and were coached by Sloan'southward Chris White potato;[vi] Wright has said that the production's casting did not look for musicians in particular.[vii] Though Godrich had initially reached out to the Blackness Lips to become Sex Bob-Omb,[1] and Times New Viking were also considered,[8] the ring'southward music was based on Beck, who wrote their original songs and contributed others to the soundtrack.[4] Beck was also worried about his contributions, saying that "the trouble you see in films well-nigh garage bands or fledgling bands is that y'all can tell how pro the music is, information technology doesn't feel genuine. All I had to keep was the comic volume. When I was writing the songs, I was looking at frames from the comic book."[two] In recording, Webber, who "had never played guitar or sung before in his life", had to record over Beck's vocals with his ain.[4] The fictional band Crash and the Boys, which has songs on the soundtrack, is based on Broken Social Scene, with Crash'south actor Erik Knudsen also singing; some other grouping in the film is the Clash at Demonhead, based on Metric and fronted past actress and singer Brie Larson as Green-eyed Adams (herself based on Metric's front end-woman Emily Haines), with only Metric on the soundtrack.[i]
Godrich reflected on the soundtrack product and the involvement of these big acts, saying that "It's ane of those things where it might be ameliorate to just non hear whatsoever music and to leave information technology to your imagination. Then it will be equally good as information technology will e'er be. Only once a few inquiries were fabricated, and it was clear that we could maybe get those people to contribute, information technology was an exciting prospect."[ane] Many of the cast recordings were made at the home studio of Metric'due south Jimmy Shaw; the band had become friends with Wright when he moved to Toronto for pre-product.[three]
The 2d vocal on the soundtrack is "Scott Pilgrim" past Plumtree, the song that inspired the name of the title graphic symbol. Bryan Lee O'Malley, the graphic novel author, was insistent on having the song included on the soundtrack; it is 1 of two Plumtree songs featured in the film, and though the ring is obscure, they are a favorite of O'Malley's. Similarly, Wright chose to include a version of Frank Black's "I Heard Ramona Sing", one of his favorites, because of how much he used to listen to it when he was infatuated with a daughter, long before production of the flick, and the coincidence that information technology matched the master love interest'due south name. Another O'Malley selection is the Beachwood Sparks version of "Past Your Side", which was on the list of songs he compiled to back-trail the first Scott Pilgrim graphic novel; Wright also joked that he owed the original writers of the song, Sade, "some publishing money" after having had his characters in Shaun of the Dead utilise a Sade album to fend off zombies.[1] In his graphic novel playlist, O'Malley describes "By Your Side" equally "a swirly cosmic countrified encompass of a Sade vocal. It'south the ultimate Scott Pilgrim dearest song."[ix] Besides on the playlist was "Sleazy Bed Track" by The Bluetones, which then inspired Wright to advise including a song past Claret Red Shoes, a band with a similar sound. Both "Sleazy Bed Runway" and Claret Cerise Shoes' "It'south Getting Boring by the Sea" are used.[ane]
A rehearsal of "Nosotros Are Sex Bob-Omb" portrayed in Bryan Lee O'Malley's graphic novel (left). Lyrics, chord progressions and fingering charts are shown between the panels and in an inset box (right).
Beck and collaborator Brian LeBarton worked on all of the Sexual practice Bob-Omb songs, of which six are included on the original soundtrack. They wrote and recorded all of the songs over a few days in 2008;[1] in 2020, Wright said that "Beck wrote 32 Sexual activity Bob-Omb songs in 32 hours".[10] They were recorded just as quickly on 8-track record, and left rough.[3] Lyrics for the title rails "We Are Sex Bob-Omb", sung by Webber, were only added after when the production decided to apply it for the opening titles.[1] The vocal "We Are Sexual practice Bob-Omb" had originally been written in the first graphic novel, where O'Malley "not only lays out all the lyrics they're singing for the reader, simply besides provides chord progressions, charts for fingerings and even the time signature and feel" of the song.[11]
The graphic novels noted that Crash and the Boys' songs are three seconds long, which Godrich took as defining precisely what kind of band and sound that makes them. Knudsen recorded the lyrics for their 2 songs (Broken Social Scene had written four, but two were not used); O'Malley recalled that Knudsen's favorite band is Broken Social Scene, and that the actor was thrilled to exist working with Kevin Drew from the band for the picture show.[1] Broken Social Scene were asked to create Crash and the Boys' songs "considering they had get friends of [Wright and Godrich] in Toronto".[three] The brusque and loud music style is different to Cleaved Social Scene, but Wright described the band as versatile and suggested that they had taken inspiration from Napalm Death and similar music they had listened to equally teenagers.[three]
The soundtrack features a version of the Metric song "Black Sheep" with Haines as lead singer, per the ring's asking,[12] though it is sung past extra Larson, too a musician, as the Clash at Demonhead's singer Envy Adams in the film.[1] [six] [13] Metric had performed the song in concert as early every bit 2007, but had not released information technology before this soundtrack.[xiv] [fifteen] An instrumental was besides washed of the Clash at Demonhead's bass thespian Todd Ingram, portrayed by Brandon Routh, for the song, only this was non used in the film. Routh spent "three or four months" learning to play bass for the picture show.[iv]
For the Sex Bob-Omb song "Ramona", Wright gave Beck the prompt to "practice an audio-visual song that but uses the lyrics 'Ramona, oh my my Ramona'": Brook wrote numerous versions, of unproblematic songs, with the one played by Cera in the film being one of the about circuitous.[1]
The Rolling Stones' "Under My Thumb" was also used in the motion-picture show and on the soundtrack; the rights to this song are owned past ABKCO Records, who learned virtually the picture show when the production were trying to use the song. Wright says that ABKCO and so saw a cut of the film and wanted to let them employ it, which was besides influenced past Godrich using his friends' ring The Hotrats to record a cover that they all agree was uncomfortably close to the original. ABKCO then joined the project to release the soundtracks.[1] While it is used for narrative purposes in the moving picture, it is as well said to be Wright'south favorite Rolling Stones song.[16]
The original score contains some of the melodies written by O'Malley for the graphic novels, as well equally songs by Dan the Automator and Cornelius.[8] These include the Bollywood-inspired song performed by actor Satya Bhabha every bit Matthew Patel and the electronic number given to the Katayanagi Twins band for their fights against Scott.[17] [18]
Music [edit]
The soundtrack contains a mix of classic rock, alternative rock, indie, garage and mail service-punk.[19] [xx]
Sex Bob-Omb's audio is that of a sloppy garage rock grouping, and Matt Burdick describes Webber'due south vocals equally lead singer Stephen Stills to be "yelpy".[21] The first vocal of the film and soundtrack is Sex Bob-Omb's title vocal, "We Are Sex Bob-Omb", which plays over the opening titles and is described as a "fuzzed-upwardly, sloppy rocker" by Todd Martens of the Los Angeles Times [1] and "raw, down and dirty" past The Playlist 's Rodrigo Perez.[sixteen] The BBC's Mike Diver writes that the song "roars and swaggers".[13] Wright said of that vocal that "y'all can hear [...] that the bass drops out. The drumming rhythms change constantly because they're just hammering abroad."[i] Godrich explained that the song was given to them every bit a short instrumental, and that they chose to employ and extend information technology because it is "riffy" – Beck was surprised that they wanted to use information technology.[1]
The band'south song "Garbage Truck" is described by Perez as a "elementary, mid-tempo stompy punk-fuzz number"[16] and past Martens as a "sludgy anthem [that] is a mix of self-deprecating humor and misfit pride".[ane] While because it to take a disquisitional role in the motion-picture show, Martens notes that its distorted levels tin strain abode audio systems. Webber sings the lead vocals, with a version sung by Beck included as a bonus track on the deluxe soundtrack. Wright found that Webber and Beck contrasted sharply in their delivery of the lyrics, with Beck'southward blending into the mix, as he had intended. Equally with "Nosotros Are Sexual activity Bob-Omb", Beck has said he was surprised that the vocal was chosen.[i] "Summertime", even so, has articulate lyrics; Beck once again expressed surprise, here considering he felt the song most represented Sex Bob-Omb's audio, due to its looseness, but it was mainly used over the closing credits. Wright had explained that at different points in product, the vocal was going to be in different parts of the motion-picture show, simply those cuts did non work.[one]
"Threshold", which is used almost the cease of the movie, is described by Martens as "one of the choppiest, roughest Sexual practice Bob-Omb songs in the film" which accelerates into the chorus with an effects-laden acoustic-electric guitar.[1] Perez notes its baloney and feedback, calling information technology "wobbly punk rock".[xvi] The vocal comes from an idea of what O'Malley imagined Sex Bob-Omb to be, from an feel in a ring with a friend whose heavily distorted acoustic guitar would "really upset [the sound guy; that'south] what they were originally looking like."[1] Brook worked from the comics while composing the songs, imagining Stephen Stills to be like Kim Deal, who uses feedback to amplify her acoustic guitar with The Breeders.[2] Brook said of "Threshold" that he felt bad for giving such a rough song to the producers, but also "proud that some of the bad notes were left in there. I retrieve things tend to get scrubbed for Hollywood films, but this was relatively less-polished."[1] An 8-flake version of "Threshold" by Brian LeBarton is also included on the soundtrack.[1]
The Sex Bob-Omb song "Ramona" is only included on the soundtrack as ii original versions performed by Beck, described as "lovesick longing".[1] An acoustic version of Beck improvising the song uses the same chord progression as the movie version, but with a "bumble" 41 seconds in; the orchestral version is longer with a mellotron and strings and some actress lyrics that Beck added presently before mastering.[1]
In line with Sex Bob-Omb's sound, Wright had a remix of Frank Black'due south "I Heard Ramona Sing" recorded for the soundtrack. Martens explains that "its choppy opening overlaid with a lilting guitar solo instantly smooths out the frayed first [and feels] like a fantasize" as information technology marks the offset of Scott'south obsession with Ramona.[1] Similarly, the Black Lips' "O Katrina!", in the motion-picture show and on the soundtrack, is described by the producers to have the experience of a Sex activity Bob-Omb song.[ane] Martens writes that "Sleazy Bed Track" has a "downbeat groove and depressed lyrics [that] hint that not all will be so sweet", and that the version of "It's Getting Boring By the Sea" used has a "sharp guitar opening [that] suits the fight-like atmospheres of the pic".[i] Perez calls "It's Getting Boring By the Sea" a "spunky track [with] the exact free energy y'all might expect from this film".[16]
Crash and the Boys have two songs on the soundtrack and are said to be "fast, angry and with a besides-cool-for-you look" and a metal sound,[ane] with Mike Katzif calling their songs "brash, distorted, one-minute blasts".[11] Glen Chapman said that Cleaved Social Scene's songs for Crash and the Boys "are almost unrecognisable from their epic pop sensibilities that typify their output".[six] Cleaved Social Scene contributed some of their own songs as well, including their signature song "Anthems for a Seventeen-Year-Old Girl", which gradually adds instruments to the organization behind rounds of vocals by Haines. Martens found that it invites the listener to sing along, despite its "nostalgic tone".[1] Haines told Martens that the vocal is "about the pains of growing upward, and wanting and trying to simplify your life then yous can enjoy what's valuable [...] it's about taking away all the distractions, that's the developed viewpoint."[i]
Other previously released songs include "Scott Pilgrim", which barely features in the motion picture; Martens notes information technology for an "alt-rock chaff to the guitars, and a naive excitement to the vocals".[one] "By Your Side" is described by Martens as a "lovesick slow dance of a tune, with bedside vocals and a romantically melancholic harmonica",[1] and Perez chosen it an "atmospheric, harmonica-laden" vocal that "has that wistful and bittersweet feeling that [the soundtrack and film are] chasing in its introspective moments".[16] Some other established song on the soundtrack is T. Rex's "Teenage Dream". Wright chose to include the vocal, saying:[one]
This is one of my favorite T-Rex songs. It's epic. It made me think of Knives. Information technology sounds similar a missing song from Grease. It'due south so lush and symphonic. I'm obviously a big T-Male monarch fan, but that song is then g. Information technology spoke to me as how we feel when we are 17 and have been dumped. You need a song that sounds like the end of the world.
The Metric song "Blackness Sheep" included on the soundtrack is said by Haines to be like a caricature of Metric, that "aspects of the song, the electro aspects of the band, and the abstract lyrical visualizations, are farthermost examples of certain aspects of [the band]". Godrich noted that considering of this the song "was perfect for this film. It's not Metric. It'southward a shadow of Metric."[ane] Music writer Kirk Hamilton, of Kotaku, notes the differences in Larson and Haines's versions, saying that Larson'southward take is "sassier and a bit less rocking, and in that way, more than appropriate to Envy'southward character";[22] Aoife Fealy for The Arcade wrote that Haines's vocals accept a "star-gazy grunge border", compared to Larson'south "suave and sultry vocals" as Envy.[23] The Metric instrumental for the rails that is used in the film is besides a different version to the soundtrack: in the moving-picture show information technology is more sinister and has an extended intro with Larson singing "Oh yes" on repeat to serve the story in the scene,[1] while the soundtrack has a "heavier undertone".[23]
James McMahon described the original score as "a more than ethereal heed than the main soundtrack",[eight] and Mike Katzif said that it "recalls the chiming ambient music of Brian Eno or the kinetic electro-stone of Daft Punk", too as pulling tones from video games and using elements of chiptune music.[11] Glen Chapman wrote of some of the score pieces that "there's a slow build with some cute tracks that sound similar Sigur Rós' Untitled pieces and elements of Broken Social Scene'due south debut album, Feel Skilful Lost ".[six] The musical cues of Beck-equanimous Sexual practice Bob-Omb song "Threshold" likewise appear within parts of the score, which Chapman plant to reflect the anthemic nature of the song for the band.[vi]
Release [edit]
Scott Pilgrim vs. the World: Original Motion Picture show Soundtrack was released on August 10, 2010, by ABKCO Records on vinyl and compact disc.[24] [25] [26] [27] A deluxe version of the soundtrack was also released.[24] People who pre-ordered the album on iTunes, or who purchased the palatial version, received a bonus video of the moving picture version of Metric's "Black Sheep" sung by Larson.[24] [28] [29] A music video of Sex Bob-Omb performing "Summertime", intended to finish the picture show but subsequently removed, is included on the DVD,[ane] and some of Brook's original Sex Bob-Omb tracks were made available as iTunes downloads.[ii]
Scott Pilgrim vs. the Globe: Original Score Composed by Nigel Godrich was also released on August x,[30] exclusively to streaming,[1] [eleven] though Wright did suggest information technology would be a second disc included with the soundtrack.[8] Wright said that he was "really pleased with the songs that nosotros take in the film, and I'm really pleased with Nigel's score, because it's the get-go score that he's ever done. I recall it sounds amazing."[iv]
In 2011, four unreleased Sex Bob-Omb songs were published online, including "Indefatigable", recorded by the actors and briefly used in the motion picture, and Beck recordings of songs called "No Fun", "Disgusting Rainbow" and "Gasoline Eyes".[31]
A new version of the album, including unreleased tracks, was announced on the film's 10th ceremony. On vinyl, the soundtrack will take "a whole new side". Too equally adding songs to the soundtrack, the score volition receive a concrete release; in 2010 information technology had only been a digital download.[3] Unreleased tracks on the re-release include more versions of the Brook vocal "Ramona",[3] and Brie Larson's version of "Black Sheep".[32] Wright tweeted that at that place will be 24 minutes of new songs.[33] The expanded soundtrack and score were released as a box set of four film discs on March 26, 2021, as the Seven Evil Exes Limited Edition; the score was also released on vinyl on the aforementioned engagement.[34] A digital release, subtitled the expanded edition, is scheduled for July 9, 2021.[35] [36]
Reception [edit]
| Amass scores | |
|---|---|
| Source | Rating |
| Metacritic | 68[27] |
| Review scores | |
| Source | Rating |
| AllMusic |   [26] |
| Chicago Tribune | [37] |
| Consequence of Sound | [38] |
| Drowned in Sound | 8/10[39] |
| Entertainment Weekly | B[xl] |
| One Thirty BPM | 79%[41] |
| Pitchfork | six.7/x[17] |
| PopMatters | half-dozen/10[42] |
| PopSugar | Favorable[43] |
| Punknews.org | [44] |
| Rolling Stone |  [45] |
| Seattle P-I | [46] |
Online music database AllMusic gave the soundtrack a positive review,[26] and Den of Geek said that the film has "one of the best soundtracks of the yr".[4] MTV shared this cess and particularly praised the Sexual practice Bob-Omb songs.[47] Common Sense Media gave it a 3 out of 5 star rating, finding the soundtrack more child-advisable than the motion picture for its absurdist but not-explicit language, common to alt-stone.[48]
The AllMusic review said that "soundtracks to movies adapted from comic books are often marketing gratis-for-alls", noting how promotional considerations often override the thematic coherence of the moving-picture show, just that this "[could not] be further from the truth for Scott Pilgrim vs. the Globe 'due south music."[26] Drowned in Audio added that "with a soundtrack that captures the spirit of the comics with such fervency, conviction and subject field, Scott Pilgrim vs The World looks ready to be a lot less dislikable than you might've hoped."[39]
Matthew Perpetua for Pitchfork also noted the accommodation, proverb that "for the most function, Wright and his collaborators nailed it".[17] Perpetua felt that while Beck's songs may be a fleck as well good for Sex activity Bob-Omb, he successfully "captures the ramshackle energy implied in the comics", but notes that the picture show versions are more enjoyable than the Beck versions on the soundtrack due to Beck sounding too professional person for the "scrappy" songs.[17] He comments more than on the Crash and the Boys music, similarly saying that Broken Social Scene "striking their mark in terms of carrying the humor of frantic under-one-minute numbers" merely that he finds the songs too apparently for the fictional band "that ought to be far more weird and unreal" due to the musical superpowers they have in the graphic novel.[17] Bear upon'due south Matt Burdick besides thought the soundtrack would take been meliorate had a Crash and the Boys song from the comics called "Last Song Kills The Audience" been included.[21]
Den of Geek'due south Glen Chapman wrote that the Disharmonism at Demonhead performing "Metric's 'Black Sheep' is the closest to what [he] imagined any of the bands would audio" like based on the comics; he said that he is disappointed that Larson's version was non on the soundtrack.[6] He besides expressed disappointment that a item song from the movie, Holy Fuck's "Latin", was not on the soundtrack.[vi]
Entertainment Weekly gave the album a B rating, praising the song "Garbage Truck",[40] while Rolling Rock gave a more mixed review, stating that the contributions of Beck and Broken Social Scene were not strong and that "the charm of those songs fades outside the film".[45] Perpetua also felt that they were unnecessary, but were nice songs and contributed to the pattern of the comic world in the music.[17] However, Chapman noted that he listened to the soundtrack before he watched the film and that it works in isolation from the picture show where other soundtracks do not, adding that it "plays out similar a very potent, near perfect mix tape". He institute that the previously released songs were "excellent [and] admittedly appropriate for the scenes they accompany, both lyrically and musically [...] and, as such, none of the [soundtrack] inclusions are superfluous to requirements."[6]
Writing for The Guardian, James McMahon noted Wright's care in curating his flick soundtracks, and said that people going to see the motion-picture show "[could] have a new favourite soundtrack to cherish", that the "soundtrack raises the bar for moving picture music".[8] NPR's Mike Katzif discussed the soundtrack and concluded: "what makes this all so much fun to me is that it tries something a little dissimilar. Where most soundtracks fall into a standard, even irksome format – the mixtape compilation – Scott Pilgrim's filmmakers score major bonus points for creating something that allows the music to be every bit crucial to the picture show-watching experience as it is in the comics."[11]
Regarding the score, Chapman said that it is as strong every bit the soundtrack and an equal accompaniment to the pic, concluding that "the score is a work of genre-defying madness that utilises an assortment of musical styles to heighten the mood of the piece. From the aforementioned melancholic postal service stone to up-tempo dance pieces, this is a varied merely highly effective debut score that's an interesting pause from the orchestral scores that have accompanied much of the year's biggest pictures."[6]
Accolades [edit]
The song "We Are Sex Bob-Omb" won the 2010 Houston Film Critics Social club Honor for All-time Original Song,[49] and was nominated for the 2010 Las Vegas Film Critics Society Sierra Award for Best Song[50] and the 2011 Online Film & Television set Association Accolade for All-time Original Song.[51]
It was listed as number four of the 40 greatest picture show soundtracks by The Independent,[52] and was on AltPress'due south list of 16 fantastic soundtracks.[53]
Rails listings [edit]
Soundtrack [edit]
| No. | Title | Author(s) | Artist(s) | Length |
|---|---|---|---|---|
| i. | "We Are Sex Bob-Omb" | Brook Hansen | Sex Bob-Omb (Michael Cera, Alison Pill, Mark Webber, Beck and Brian LeBarton) | 2:00 |
| ii. | "Scott Pilgrim" | Lynette Gillis, Catriona Sturton, Amanda Bidnall, Carla Gillis | Plumtree | 3:02 |
| 3. | "I Heard Ramona Sing" | Charles Thompson | Frank Black | iii:40 |
| 4. | "By Your Side" | Paul Denman, Andrew Hale, Sade, Stuart Matthewman | Beachwood Sparks | iv:57 |
| 5. | "O Katrina!" | Ian St. Pe, Joe Bradley, Jared Swilley, Cole Alexander | Black Lips | 2:51 |
| 6. | "I'thou Then Lamentable, So Very, Very Pitiful" | Ohad Benchetrit, Kevin Drew, Brendan Canning, Charles Spearin | Crash and the Boys (Broken Social Scene and Erik Knudsen) | 0:13 |
| vii. | "Nosotros Hate Yous Please Die" | Benchetrit, Drew, Canning, Spearin | Crash and the Boys | 0:59 |
| 8. | "Garbage Truck" | Hansen | Sexual activity Bob-Omb | 1:44 |
| ix. | "Teenage Dream" | Marc Bolan | T. Male monarch | 5:45 |
| 10. | "Sleazy Bed Track" | Mark James Morris, Scott Edward Morris, Edward Daniel Chestor, Adam Patrick Devlen | The Bluetones | 4:36 |
| 11. | "Information technology's Getting Boring past the Sea" | Laura Carter, Steven Ansell | Blood Red Shoes | ii:56 |
| 12. | "Black Sheep" | Emily Haines, James Shaw | Metric | four:56 |
| 13. | "Threshold" | Beck Hansen | Sexual activity Bob-Omb | 1:47 |
| 14. | "Anthems for a Seventeen Yr-Erstwhile Girl" | Drew, Canning, Justin Peroff, Spearin, Haines, John Crossingham, Shaw, Jessica Moss | Broken Social Scene | four:36 |
| fifteen. | "Under My Thumb" | Mick Jagger, Keith Richards | The Rolling Stones | 3:41 |
| 16. | "Ramona" (acoustic version) | Hansen | Brook | 1:02 |
| 17. | "Ramona" | Hansen | Beck | 4:22 |
| 18. | "Summertime" | Hansen | Sex Bob-Omb | 2:x |
| nineteen. | "Threshold" (eight-chip version) | Hansen | Brian LeBarton | one:48 |
| No. | Title | Writer(south) | Artist(s) | Length |
|---|---|---|---|---|
| twenty. | "Garbage Truck" | Hansen | Beck | i:48 |
| 21. | "Threshold" | Hansen | Beck | i:43 |
| 22. | "Summertime" | Hansen | Beck | 2:09 |
| No. | Title | Writer(due south) | Artist(due south) | Length |
|---|---|---|---|---|
| 20. | "Black Sheep" (Brie Larson vocal version) | Haines, Shaw | Metric featuring Brie Larson | 4:54 |
| 21. | "No Fun" | Hansen | Sex Bob-Omb | |
| 22. | "Garbage Truck" | Hansen | Beck | i:48 |
| 23. | "Threshold" | Hansen | Beck | one:43 |
| 24. | "Indefatigable" | Hansen | Sex Bob-Omb | |
| 25. | "Go!" | Fifty. Gillis, Sturton, Bidnall, C. Gillis | Plumtree | |
| 26. | "Ramona" (acoustic demo idea 1) | Hansen | Brook | |
| 27. | "Ramona" (acoustic demo thought 2) | Hansen | Beck | |
| 28. | "Ramona" (acoustic demo idea three) | Hansen | Beck | |
| 29. | "Ramona" (Mellotron) | Hansen | Beck | |
| 30. | "Summertime" | Hansen | Beck | 2:09 |
| 31. | "Enter Goddess" | Koji Kondo | Nigel Godrich |
Score [edit]
| No. | Title | Writer(s) | Creative person(due south) | Length |
|---|---|---|---|---|
| 1. | "Universal Theme" | Jerry Goldsmith | Nigel Godrich | 0:21 |
| 2. | "Hillcrest Park" | Godrich | Godrich | 4:04 |
| 3. | "Fight!" | Godrich | Godrich | 2:52 |
| 4. | "Slick (Patel's Vocal)" (featuring Satya Bhabha) | Dan the Automator, Bryan Lee O'Malley | Dan the Automator | ane:39 |
| 5. | "Love Me Some Walking" | Godrich | Godrich | 4:02 |
| half dozen. | "Talk to the Fist" | Godrich | Godrich | 1:03 |
| 7. | "Rumble" | Godrich | Godrich | ane:58 |
| 8. | "Feel the Wrath" | Godrich | Godrich | 1:25 |
| 9. | "The Grind" | Godrich | Godrich | 0:35 |
| 10. | "Hello Green-eyed" | Godrich | Godrich | 0:49 |
| 11. | "Mystery Attacker" | Godrich | Godrich | i:12 |
| 12. | "Second Loving cup" | Godrich | Godrich | ane:50 |
| 13. | "The Vegan" | Godrich | Godrich | 4:05 |
| fourteen. | "Bass Battle" (featuring Jason Falkner and Justin Meldal-Johnsen) | Godrich | Godrich | one:45 |
| xv. | "Distressing I Guess" | Godrich | Godrich | 1:11 |
| 16. | "Roxy" | Godrich | Godrich | v:34 |
| 17. | "The 9th Circle" | Godrich | Godrich | 0:51 |
| xviii. | "Katayanagi Twins vs. Sex Bob-Omb" | Brook, Cornelius | Beck & Cornelius | three:09 |
| nineteen. | "This Fight Is Over" | Godrich | Godrich | one:21 |
| 20. | "Gideon Calling" | Godrich | Godrich | 1:02 |
| 21. | "Level vii" | Godrich | Godrich | 0:twoscore |
| 22. | "Welcome to Chaos Theatre" | Godrich | Godrich | 1:17 |
| 23. | "We Are Sex activity Bob-Omb" (fast) | Brook | Brook & Nigel Godrich | 0:58 |
| 24. | "Fast Entrance Into Hell" | Godrich | Godrich | 0:57 |
| 25. | "Chau Downward" | Godrich | Godrich | 1:ten |
| 26. | "Game Over" | Godrich | Godrich | 0:52 |
| 27. | "And then Alone" | Godrich | Godrich | two:00 |
| 28. | "Round two" | Godrich | Godrich | 1:25 |
| 29. | "Decease to All Hipsters" | Brook | Brook & Nigel Godrich | 0:41 |
| 30. | "A Different Guy" | Godrich | Godrich | ane:05 |
| 31. | "Dominate Boxing" | Godrich | Godrich | ii:46 |
| 32. | "Bravado Up Correct Now" | Godrich | Godrich | 0:46 |
| 33. | "Backwash" | Godrich | Godrich | 1:38 |
| 34. | "Goodbye and Stuff" | Godrich | Godrich | two:43 |
| 35. | "Love" | Osymyso | Osymyso | i:38 |
| 36. | "Ramona" | Osymyso | Osymyso | i:31 |
| 37. | "Set" | Osymyso | Osymyso | 1:09 |
| 38. | "Ninja Ninja Revolution" | Dan the Automator | Dan the Automator | 1:08 |
Personnel [edit]
Credits adapted from Discogs:[55]
- Art management: Dale Voelker
- Music production coordinator for ABKCO Records: Teri Landi
- Executive producer: Edgar Wright, Marc Platt
- Executive music producer: Nigel Godrich
- Liner notes: Edgar Wright
- Mastering: Bob Ludwig
- Music executive for Universal Pictures: Mike Knobloch
- Music production for Universal Pictures: Harry Garfield
- Music supervisor: Kathy Nelson
- Cheers: Bryan Lee O'Malley
Chart positions [edit]
| Chart (2010) | Peak position |
|---|---|
| Australian Albums Chart[56] | 56 |
| Canadian Albums Chart[57] | xx |
| Greek Albums (IFPI)[58] | 21 |
| U.S. Billboard 200[59] | 24 |
| U.South. Billboard Alternative Albums[threescore] | 4 |
| U.S. Billboard Tastemakers[61] | xiii |
| U.S. Billboard Top Soundtracks[62] | 2 |
References [edit]
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External links [edit]
- Scott Pilgrim vs. the World at Metacritic
- Corcoran, Nina (August xiii, 2020). "'Scott Pilgrim Vs. The World' Is A 2010s Indie Rock Time Sheathing". Stereogum. Archived from the original on August 14, 2020. Retrieved August xiv, 2020.
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