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Stranger Things: Music from the Netflix Original Series, Season 4 is the non-original composition soundtrack companion to the fourth season of the Netflix series Stranger Things. The album, which includes sixteen popular period songs used in the show, was released digitally in two parts by Legacy Recordings on May 27, 2022 and July 1, 2022, to coincide with the release of the first and second volumes of the season.[1][2][3]
The series will incorporate songs from the Fab Four to tell uplifting and life-affirming stories. The tracks, woven into the narrative of each episode, will be covered by Sia, Eddie Vedder, P!nk, James Bay, The Shins, Of Monsters and Men, Chris Cornell, Regina Spektor, James Corden and Birdy, with additional artists joining the project set to be announced.
Reynolds stars as Adam, a pilot from the year 2050 who travels back to the year 2022 to meet his 12-year-old self, played by Walker Scobell. Jennifer Garner, Catherine Keener, Mark Ruffalo and Zoe Saldaa all co-star in the movie, which was directed by Shawn Levy.
It's led the Netflix Top 10 charts around the globe since its release and received generally positive viewer and critic reviews. If you're one of the many people who've already watched The Adam Project, you may want to know which songs make up the soundtrack to the movie.
The Spencer Davis Group hit "Gimme Some Lovin'" plays as Ryan Reynolds flies onto the screen in the first few seconds of the movie. He's flying his futuristic plane into space before bursting through a time portal taking him from 2050 to 2022.
Another song that's played twice at pivotal parts of the movie is Pete Townsend's "Let My Love Open the Door." Tending to his wounds in his dad's shed, older Adam admits it's his favorite song, just like his father.
In one of the most emotional scenes of the movie, older Adam runs into his past mom (Garner) where the two share cryptic, but sweet sentiments as they talk about young Adam. In the background of the bar, "Let It Be" by Matt Berninger plays. If you're unfamiliar with the track, it should be noted this is an original song and not a cover of The Beatles' song.
Laura comes flying back into older Adam's life by saving him from a perilous situation at his old house in 2022. Led Zeppelin's "Good Times Bad Times" plays overhead as the couple fights off waves of storm trooper-like henchmen, disposing of them one by one.
Used in the trailer for the movie, the final fight scenes in the Sorian laboratory feature Boston's catchy hit "Foreplay/Long Time." The song is edited in places to provide a perfect soundtrack to the action, which seemingly moves in time with the music.
Jamie Burton is a Newsweek Senior TV and Film Reporter (Interviews) based in London, U.K. His focus is reporting on the latest in the world of entertainment and showbiz via interviews with celebrities and industry talent. Jamie has covered general news, world politics, finance and sports for the likes of the BBC, the Press Association and various commercial radio stations in the U.K. Jamie joined Newsweek in 2021 from the London-based Broadcast News Agency Entertainment News (7Digital) where he was the Film and TV Editor for four years. Jamie is an NCTJ-accredited journalist and graduated from Teesside University and the University of South Carolina. Languages: English.
That's why this end-credits song sounds like we're being played out of a twisted episode of "Sesame Street." It's a cheerful song on the surface, but darker at its core ("It'll stop any day now, any day now!").
A perfect interlude track, "Don't Wanna Know" smartly asks the audience at home if they're really watching this special or not ("Am I on in the background? Are you on your phone?") right at the point that some people might be checking out.
At just about 30 seconds long, this is one of the shortest songs Burnham sings in "Inside," and yet it's one of the catchiest tunes in the bunch. I particularly love Burnham's oddly pleasant-yet-screeching scatting that cuts off abruptly at the end.
The lyrics recap the banality many people were all-too-familiar with after living through the COVID-19 pandemic, while the melody and composition create a head-bobbing earworm that's impossible to ignore.
The interludes that go from "ay, ay, ay" into "AT&T." The exquisite description of how a phone flash makes his dick "look frightened." The Ariana Grande-esque "yuhs" that punctuate the end of the song. What a jam.
Burnham seems to be poking fun at the vapid, rapid-response apologies celebrities will give to the world, maintaining the impression that they're fine being held accountable for problematic actions of their past.
The fur suit and swirling projection graphics help make this reprisal of the "Bezos" anthem something special. The manic way Burnham sings "You did it!" and "Congratulations!" in mock-celebration of Bezos being the richest person in the world lands perfectly.
This song is just a single verse, prompted by Burnham admitting to the audience that his current mental health is rapidly approaching an "ATL" ("All Time Low"). With four short lines, Burnham encapsulates pretty much exactly what having a panic attack feels like with an uncanny catchiness:
I'm not sure I'll be able to see the name "Jeff Bezos" in headlines again without hearing the anguished scream Burnham lets out at the end of this song. This synth-heavy tune makes a mockery of billionaire fanboys in glorious fashion. The lyrics build until Burnham is chanting: "Zuckerberg and Gates and Buffet, amateurs can f------ suck it. F--- their wives, drink their blood. Come on, Jeff, get 'em!"
The premise of this song comes from one of Burnham's favorite comedians, Hans Teeuwen. While Teeuwen's sock-puppet stand-up routine is all about an absurd, codependent relationship between puppet and master, Burnham's puts a new spin on the idea.
In "How the World Works," Burnham sets his character up as a stand-in for ignorant white idealists, while his puppet Socko takes on the role of non-white Americans. This is best displayed in the bit where Socko tells Burnham to go read a book if he wants to learn more about how "the simple narrative taught in every history class is demonstrably false and pedagogically classist."
When Burnham's character laments that he was just "trying to be a better person," Socko exasperatedly says: "Why do you rich f------ white people insist on seeing every socio-political conflict through the myopic lens of your own self-actualization?"
This prompts Burnham to pull-rank on Socko, brow-beating him back into submission before he rips the puppet off his hand anyways, showing us once again "how the world works" between the ruling classes and the oppressed.
This song is very solid musically, but the accompanying visuals are what make it really soar. Highlights include the bridge where the commentary on a "girlboss" aesthetic of women's Instagram photos opens up to imagine someone's post dedicated to her dead mother.
But then Burnham really lays it on us, gloriously lighting up a disco ball with a light strapped to his head as he belts out, "But look I made you some content! Daddy made you your favorite, open wide."
"That Funny Feeling" is a song about things that make you feel like you're living in a warped simulation or have totally disassociated from reality, or perhaps have begun to accept that we're at the edge of the collapse of civilization ("Googling 'derealization,' hating what you find").
Burnham takes on the persona of an ego-driven, white male comic with the first parody song in his special, amping up his well-established style of being a self-aware entertainer. He laments being unsure of whether he should be "joking at a time like this," and lands on the solution ("Healing the world with comedy, making a literal difference, metaphorically").
Not only does this song show off how much Burnham's vocal chops have advanced since his first viral parody song he wrote when he was 16 years old, but it also keys into the musical style of the whole special. It establishes the way he'll be veering in and out of different characters, mocking both himself and the role of white entertainers writ large in today's cultural conversation.
Maybe it's because I was also born in 1990, and older folks used to always gawk when I revealed my birth year in the exact way Burnham describes in this song. Or maybe it's just because I also turned 30 in the midst of the COVID-19 pandemic and feel the sands of time creep into my psyche. Either way, I unabashedly love this song.
Another of the shorter songs in the special, "Look Who's Inside Again" manages to be one of the most profound pieces of music Burnham writes. He goes from describing the efforts of creating the very special we're watching ("trying to be funny and stuck in a room") to poignantly summarizing the experience of a teenager who feels trapped ("I was a kid who was stuck in his room").
Luring you down a poisonously designed Internet K-hole, "Welcome to the Internet" plays like Burnham's villain song in the musical theater production that is "Inside." His talent as an actor is on display throughout this whole special, but there's a particularly alluring style he has in this song as he veers from a circus salesman persona to a falsely benevolent tech founder and then straight into a Bond-villain laugh.
"Welcome to the Internet" captures the mania and dissonance and addictive qualities of the internet while explaining to you the malicious ethos underlying today's online culture and the businesses built up around it ("Apathy's a tragedy and boredom is a crime").
The grand finale of his musical spectacular, "Goodbye" brings all the main motifs from earlier songs back into the fold. Burnham layers various characters and observations about the role of comedy, the internet, complete mental spiraling, and the crush of pressure to "reenter" the world.
The song's melody is oddly soothing, and the lyrics are a sly manifestation of the sometimes-inviting nothingness that depression can offer ("It's almost over, it's just begun. Don't overthink this, look in my eye. Don't be scared, don't be shy, come on in, the water's fine.")
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