Black panther soundtrack
Black Panther Soundtrack „Black Panther“: Die Trailer-Songs & der Titelsong in unserer Playlist
Der Soundtrack zum Film Black Panther wurde von Kendrick Lamar zusammengestellt, der diesen gemeinsam mit Anthony Tiffith auch produzierte, wie die Marvel Studios und TDE Entertainment Anfang Januar bekannt gaben. Der Soundtrack hat das Filmposter als Cover und heißt auch Soundtrack of Black Panther. Das Album von Kendrick Lamar ist nichtsdestotrotz sehr lohnenswert. Auf "Black Panther", den man unbedingt im Kino sehen sollte (obwohl der Soundtrack auch ohne den Film funktioniert), ist alles versammelt, was dem TDE. Der Soundtrack zum Film Black Panther wurde von Kendrick Lamar zusammengestellt, der diesen gemeinsam mit Anthony Tiffith auch produzierte, wie die. „Black Panther“ ist der erste Marvel-Blockbuster des Jahres und in den Trailern wird Fans nicht nur mit beeindruckender Optik Vorfreude.
Anfang Januar kündigten die Marvel Studios an, dass Kendrick Lamar den Soundtrack zum neuen Film Black Panther zusammen mit. Der Soundtrack zum Film Black Panther wurde von Kendrick Lamar zusammengestellt, der diesen gemeinsam mit Anthony Tiffith auch produzierte, wie die. solvindvakuum.se: Rap-Superstar Kendrick Lamar durfte den Soundtrack zu „Black Panther“ zusammenstellen und wählte dabei viele explizite.
ScHoolboy Q. The Ways. Jorja Smith. Bloody Waters. Ab-Soul, Anderson. Paak, James Blake. King's Dead. Redemption Interlude.
Zacari, Babes Wodumo. Mozzy, Sjava, Reason. Big Shot. Pray For Me. Wakanda Origins. Royal Talon Fighter. Warrior Falls.
The Jabari. Waterfall Fight. Ancestral Plane. Casino Brawl. Questioning Klaue. Is This Wakanda? Killmonger's Challenge.
Killmonger vs. Loyal to the Throne. Killmonger's Dream. Burn It All. Entering Jabariland. Wake Up T'Challa.
The Great Mound Battle. Glory to Bast. The Jabari, Pt. Göransson worked on all of director Ryan Coogler 's previous films, while Lamar and Coogler had previously discussed collaborating and the musician agreed to perform several songs for the film after seeing an early version of it.
After reading the film's script, Göransson traveled to Africa to research traditional African music for the film. He went on tour with Senegalese musician Baaba Maal , and recorded performances by Maal and other African musicians for use in the score.
Notably, Göransson used recordings of talking drums and a tambin for character themes in the film, while Maal sung an original song for the opening of the score.
Göransson combined these traditional African elements with the classical orchestra that is often used in superhero films.
The orchestra was recorded at Abbey Road Studios , along with a choir singing in the Xhosa language. Wanting to match the film in terms of addressing important themes, Lamar decided to produce a full curated soundtrack album rather than just the few songs requested by Coogler.
Because of the film's set release schedule, Lamar had less time to work on the album than he usually would. He began work with producer Sounwave while on tour, before completing the individual songs in collaboration with many different artists.
One of these collaborators was Göransson, who worked on one of the songs and included elements from the album in the score.
Coogler felt the album became its own piece of art rather than just a tie-in to the film. Lamar's soundtrack was released as Black Panther: The Album by Interscope Records on February 9, , to large sales, including the top position on the Billboard chart.
It was praised by many critics as a milestone for film soundtracks due to its ideas and lyrics, but it was considered by some to be weaker than his solo work.
Göransson's score was released as Black Panther Original Score by Hollywood Records on February 16, and received praise for being unique among Marvel Cinematic Universe scores due to its authentic African elements and thematic material, though the album presentation was criticized as too long.
Ryan Coogler signed on to direct the film Black Panther for Marvel Studios in January ,  and insisted that he bring collaborators from his previous films to work on Black Panther , to differentiate the film from others in the Marvel Cinematic Universe that Vulture ' s Kyle Buchanan described as often being created by "the same in-house people".
Coogler had previously met with musician Kendrick Lamar and Anthony Tiffith of Top Dawg Entertainment to discuss each other's work and the potential for them to collaborate on a project.
Coogler wanted Black Panther to include some original songs from Lamar, an idea that Marvel supported, and approached the musician with footage from the film after Lamar had completed work on his album DAMN.
They wanted to match the film's "energy and raw emotions", but felt this would be difficult with the few songs Coogler requested and instead decided to create a full album.
As with his previous collaborations with Coogler, Göransson began work on the Black Panther score as early as possible, much earlier than any other composer on a Marvel Studios film according to producer Nate Moore:   Göransson began discussing the film with Coogler immediately, and the director shared research he did in Africa while preparing for the film;  Göransson read the first draft of the script as soon as Coogler was happy with it,  and read comics from Ta-Nehisi Coates ' run on Black Panther , which had just begun.
Göransson spent a month in Senegal, first travelling around with musician Baaba Maal for a week while he was on tour,   and then spending several weeks working with local musicians to form the "base" of his score.
He said it would be a challenge to do this while still having the music "feel African",  and had to approach the score as infusing an orchestra, played in the tradition of African instruments, into actual African music.
Göransson had initially approached the score with the idea that music in Wakanda could be anything due to its being a fictional country, but discovered that "music from Africa is a language" used for storytelling, with every instrument and different musical rhythm given meaning, and wanted to ensure that this was reflected since the country is still clearly in Africa.
He wanted to specifically acknowledge existing African music that applied directly to scenes in the film, such as using rhythms that were created thousands of years prior to represent large battles during the big fight sequences in the film.
In Senegal, Göransson was particularly drawn to the talking drum as a form of communication in addition to being a musical instrument.
These were combined with the sound of a talking drum mimicking the word "T'Challa" and a beat from a Roland TR drum machine to "beef it up".
Göransson used the base talking drum rhythm, rhythm, solo talking drum, and "T'Challa" talking drum motif as the primary rhythm for T'Challa in the score.
On top of this rhythm, Coogler and Göransson chose to use horns to make the character's theme sound more royal,  with Göransson writing music for the horns that he felt was more rhythmic than melodic and allowed them to be interpreted as coming from the rhythm of the talking drums rather than a traditional western theme with drums in the background.
Göransson did write a specific six-note melody for T'Challa, also played on the brass, which serves as the final piece of the character's main theme and also is used as a main theme for the film during scene transitions and for driving the overall story forward.
After hearing a musician in Senegal named Amadou Ba playing a tambin , or Fula flute, Göransson told him the backstory of villain Killmonger in the film and Ba played some music in response to the story.
Göransson felt this music fit the character well, and it became the first element of Killmonger's theme for the film.
Jordan to help him prepare for portraying Killmonger in the film. It is paired with a piano melody for Killmonger that is mysterious at first, and accompanied by a harp to represent the character's intelligence.
The piano then transitions to strings to show the suffering the character has endured, inspired by the works of Johann Sebastian Bach.
For the introduction to Wakanda in the film, Göransson was inspired by a "ceremonial outcall" that Maal began each of his shows on tour with.
The composer collaborated with Maal on a song in this style which features the latter singing about the death of an elephant in the Fula language , symbolizing the death of T'Challa's father T'Chaka.
Because director Coogler does not use a temp score placeholder music included for editing purposes for his films, Göransson began work on the score without specific references for each scene.
He had enough material by the time Coogler put together his initial four-hour cut of the film that he was able to fully score the cut.
The choir sung in the Xhosa language ,  including passages that sound like "T'Challa" for when he arrives at the Warrior Falls arena.
Coogler concluded that Göransson "really set the table for the emotion that we were trying to get across [in the film], whether it was excitement or reflection or sadness.
Several times, Marvel executives questioned whether the score was leaning too close to traditional Western music only to have Göransson explain that the music they were questioning was recorded by traditional musicians in Africa and that it had simply been coopted by Western culture from Africa.
Throughout all of his work on the score, Göransson aimed to recreate the feeling he had when first listening to Maal's music in Senegal,  which he described as a mesmerizing "out-of-body experience".
Coogler's thoughts on the soundtrack album were inspired by those created as tie-ins for s films, where "artists would take themes [from the film] and make music inspired by the themes".
Coogler's goal for the film was to explore "what it means to be African",  and he felt that Lamar's artistic themes aligned with this goal.
He said that the film is set in the modern day rather than the time the character was first introduced to comics, and "we want the whole soundtrack to sound like that too.
I think it was a perfect marriage". Sounwave explained that the album was different from the work he and Lamar usually did given they were following the story line of the film rather than creating their own.
He said this allowed them to "tap into elements we normally wouldn't do". There was also a strict time limit to how long they could work on the album given the film's set release schedule,  and so they began work while Lamar was on The Damn Tour in August During their time on the studio bus moving between performances, the pair would come up with "the production, the hooks and ideas" for the album.
Work on finishing the songs began the following month, with individual artists selected to collaborate on specific songs.
Sounwave described these two months as the most vital during the making of the album. Lamar teased his involvement with the album in an easter egg in the music video for his single " Love " in late December, with a clapperboard reading "B.
Panther soundtrack coming soon". He added, "The concept of producing and composing a project other than my own has always been ideal", stating that he appreciated the experience.
He noted that a lot of the artists who collaborated on the soundtrack did so without knowing what the film was, agreeing to work with Lamar rather than on a tie-in to Black Panther.
Coogler discussed with Lamar who he wanted to be involved with the album, with many of the names Coogler brought up being artists that Lamar had worked with or heard of before.
Lamar had already written an introduction for their song, leaving the members of the group to write their own verses and perform them.
The song that Khalid was chosen for, "The Ways", was written by Lamar and Swae Lee as an ode to the strong female characters in the film.
Khalid called it "an acknowledgment and appreciation of how many strong women across the board—women of color, especially—are the backbone of everything I'm so blessed to have my own personal superhero mom who inspired me".
He then worked with Smith to write "I Am" over a four-hour session. The pair subsequently became fans of the music.
I'm so grateful". Lamar released the first single from his soundtrack album, " All the Stars ", on January 4, , in which he collaborated with fellow Top Dawg artist SZA.
Draper-Ivey, an artist known online for his fan art based on Disney intellectual property such as Black Panther and Spider-Man.
Draper-Ivey was surprised when he was approached about providing artwork for the album by Interscope Records , but was excited to join the project and produced an initial mock-up within a day.
He then refined the piece with input from the studio, and noted that it was much more minimalistic than his usual work, with a focus on hinting at power rather than overstating.
Credits adapted from liner notes and digital booklet:  . Credits adapted from digital booklet: . An album featuring Göransson's score was released digitally by Hollywood Records on February 16, All music composed by Ludwig Göransson: .
All music composed by Ludwig Göransson:  . The soundtrack album debuted at number one on the US Billboard with , equivalent album units , including 52, from pure album sales.
Metacritic , which uses a weighted average , assigned a score of 80 out of based on 14 critics, indicating "generally favorable reviews".
Club felt that at its release the Black Panther soundtrack was one of the best rap albums in , saying that the individual songs "play it safe, but the project itself does not, an audacious exertion of energy from one of the planet's most universally revered musicians He compared it to other artist-driven soundtracks for films like Tron: Legacy , Coffy , and 8 Mile.
Andy Kellman gave the soundtrack four stars out of five for AllMusic , calling it an "unprecedented convergence of the mainstream film industry with an uncompromising musician thriving commercially and artistically.
Black Panther: The Album serves both purposes well. Bartleet called it the new gold standard for Marvel soundtracks, and said it was difficult to pick a standout moment.
He highlighted how Lamar's lyrics at times reflect the viewpoint of T'Challa and other times side with Killmonger, matching the film's "empathetic understanding of both characters' perspectives".
He wrote that the elements from the Black Panther mythology that were included in the soundtrack were "goofy", but that they aligned with the themes of Lamar's other work, and also praised the female artists featured, specifically naming SZA, Jorja Smith, and Yugen Blakrok.
Parelis praised Sounwave's efforts as producer on the album, but noted that a majority of the guest artists treated their songs like music for California rather than the African setting of the film.
He saw Lamar as not letting the MCU "reign in" his style and responded to this positively, but did think the album was less consistent than some of Lamar's other work.
Also writing for Vice , Lawrence Burney criticized the number of non-American artists featured on the album, lamenting that it could have been "so much more" if it had represented more global black communities.
It could have made an equally-remarkable accompanying musical piece to Black Panther. But if those chances are never taken, especially with platforms as big as Marvel in support, we may not get to see what an artistic coming-together could really do for diasporic relations.
Seibert also criticized lyrics that he found to be demeaning to women or even "basic scumbag gangster bars", which he saw as clashing with the themes of the film.
He stated his hope that the film itself be better than the underwhelming soundtrack album. Brian Josephs at Pitchfork praised Göransson's "spectacular" score, feeling that the way the composer rooted the African elements of his music in the emotions of the film stopped him from "simply ticking off the diasporic boxes".
Josephs noted the "care and development" that Göransson displays in the song "Wakanda" and in Killmonger's theme, such as the unique elements used in the latter that serve to disrupt the music of Wakanda when that character arrives in the country.
He concluded that the score is "culturally appropriate, instrumentally fascinating Reviewing the score for AllMusic, Neil Z.
Yeung gave it four out of five stars, calling it "triumphant" and highlighting the moments where the African elements were combined with traditional orchestra and modern hip-hop.
He did think it was close to being "overly lengthy" on album, but felt the music overcame this in its "dynamic and vibrant" textures, combining Hollywood heroism with authentic Senegalese music to become a score that Wilson felt could not be accused of lacking in personality as other MCU scores have been.
She particularly praised "Wakanda" as passionate and emotive, comparing it to The Lion King ' s " Circle of Life " as "our introduction to the country and people Burbank also positively received the representation of action in some of the tracks, such as during the Casino fight sequence.
Mihnea Manduteanu, on his website Soundtrack Dreams, praised the score as a breath of fresh air compared to previous MCU film scores.
Highlighting the many different styles of music that Göransson combined, he stated, "I haven't heard film music quite like this.
It's a fusion of styles and moods like no other". He concluded that where the film is a game-changer for the industry, the score is a game-changer for MCU soundtracks.
Clemmenson praised the use of percussion and vocals in the score, and called it thematically "quite well developed"—in particular, Clemmenson praised the main fanfare as "an easily identifiable theme to combat all the other elements of the score, not to mention" Lamar's soundtrack.
Still, he thought the best work in the score was Killmonger's theme, which provides "the score's most heartfelt expressions".
Conversely, Clemmenson felt passages featuring the Jabari theme were "intellectually interesting but He added that the album "definitely needs some trimming", but overall compared the score to Mark Mothersbaugh 's for Thor: Ragnarok in being "another fantastic diversion from the norm in the Marvel Cinematic Universe without sacrificing the genre's core necessities.
Anton Smit of Soundtrack World was surprised by the score, expecting to hear standard superhero music and instead finding something fresh that "really uses genuine African elements, not just sounds that come out of a computer.
He noted how the percussion usually found in a "bombastic" Hollywood score is replaced here with performances that do not "seem brainless at all as you can feel the soul the African musicians put into their play", and concluded that Göransson lived up to the African tradition of telling stories through music.
He highlighted the action music, and called the use of talking drums to sound out T'Challa's name and the screaming of "Killmonger" in that character's theme both "nice touches".
However, Simons did think the score was somewhat repetitive, that Göransson may have tried to add too many elements to the music, and that the album presentation featured some inconsistent mixing.
He called this presentation a shame, feeling that the score had the potential to earn a four star out of five score but in reality deserved two stars due to the album length.
Lamar's soundtrack, along with that of the film The Greatest Showman , was named as proof of a "soundtrack renaissance" with growing public interest in albums tied to films.
Atlantic Records president Kevin Weaver said that "when the right music is aligned to the right media, especially with these new means of music distribution, primarily streaming, it's created a whole new world for soundtracks that didn't previously exist.
That's always our goal". It's much bigger than just a compilation album. Göransson worked with several other artists to create the remixes.
James Whitbrook of io9 praised the EP as improving Göransson's already "sublime" score, calling the remixes "all pretty great, chill takes" on the existing music.
Whitbrook particularly praised the new take on the "Black Panther" theme as a "stirring choral anthem From Wikipedia, the free encyclopedia.
Kendrick Lamar and various artists. Kendrick Lamar exec. Dave "Miyatola" Free assoc. Ludwig Göransson. Kendrick Lamar Sounwave Cubeatz.
Sounwave Al Shux. Sounwave Illmind. Duckworth Dacoury Natche Spears K. Gomringer T. DJ Dahi Sounwave Cubeatz. Sounwave Lamar Robin Hannibal.
Duckworth Hykeem Carter, Jr. Pacaldo I Tiffith. Baby Keem Lamar. Sounwave Lamar Frank Dukes. Cardo Cubeatz. Dukes Doc McKinney.
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