Drive (original motion picture soundtrack) canciones

Drive (original motion picture soundtrack) canciones

😬 Drive movie soundtrack vinyl

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Drive Soundtrack, composed by Cliff Martinez, Steven Soderbergh’s favorite author. In addition to the 14 tracks by Cliff Martinez, the Drive Soundtrack also features songs by Kavinsky & Lovefoxxx (Night Call), Desire (Under Your Spell), College feat. Electric Youth (A Real Hero), Riziero Ortonali & Rina Ranieri (Oh My Love) and Chromatics (Tick of The Clock).

Track listing:Disc 11. Night Call – Kavinsky & Lovefoxxx2. Under Your Spell – Desire3. A Real Hero – College feat. Electric Youth4. Oh My Love – Riziero Ortolani & Rina Ranieri5. Tick of the Clock – Chromatics6. Rubber Head7. I Drive8. He Had a Good Time9. They Broke His Pelvis10. Kick Your Teeth11. Where’s The Deluxe Version?12. See You in Four13. After The Chase14. Hammer15. Wrong Floor16. Skull Crushing17. My Name on a Car18. On The Beach19. Bride of Deluxe

🐵 College a real hero

In particular, Martinez’s work is quite ambient, which influences the touch of modernity that this film has, because strictly speaking, Drive could have been made in any decade (it does not appeal to advanced technologies to build its plot). Without being too ambitious, it is a score that becomes more courageous as it progresses. I put the songs in order, so I recommend you to check out the remarkable differences between «Rubber Head» or «I Drive», passing by «Hammer» (everyone who has seen Drive will know in which scene that song plays), and ending with the totally moving «Bride of Deluxe». The interesting thing about Martinez’s work is that when analyzing the songs independently of the film, it would be difficult to imagine that they are part of a thriller with strong hints of violence. In the end, it was something risky with good results, always grateful for those scores that come to break the conventional norms. Martínez’s work also breaks with his own norms, since in previous works, such as the aforementioned Solaris, the piano is what rules. Now it is the synthesizer that rules, but always keeping his minimalist touch.

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🙀 Midnight express

DRIVE is a current film noir (but with color) that recalls some of the heroes of the past, those movie characters played by Steve McQueen and Clint Eastwood. Men who spoke little but said everything with their actions.

The protagonist is known simply as Driver, an anonymous anti-hero with no past or apparent life. He is, quite simply, a real human being, a real hero as one of the songs on the soundtrack says: A Real Hero (College feat. Electric Youth).

The DRIVE 2011 BSO soundtrack CD includes 14 songs composed by Martinez and other songs by other authors that add variety to the musical background, which we list below marking in bold the most outstanding songs (click on the icon to listen to a sample or download the songs):

1 Night Call – Kavinsky & Lovefoxxx 2 Under Your Spell – Desire 3 A Real Hero – College feat. Electric Youth 4 Oh My Love – Riz Ortolani feat. Katyna Ranieri 5 Tick of the Clock – Chromatics 6 Rubber Head 7 I Drive 8 He Had a Good Time 9 They Broke His Pelvis 10 Kick Your Teeth 11 Where’s the Deluxe Version? 12 See You in Four 13 After the Chase 14 Hammer 15 Wrong Floor 16 Skull Crushing 17 My Name on a Car 18 On the Beach 19 Bride of Deluxe

🌹 Kavinsky nightcall

In particular, Martinez’s work is quite ambient, which influences the touch of modernity that this film has, because strictly speaking, Drive could have been made in any decade (it does not appeal to advanced technologies to build its plot). Without being too ambitious, it is a score that becomes more courageous as it progresses. I put the songs in order, so I recommend you check out the remarkable differences between «Rubber Head» or «I Drive», passing by «Hammer» (everyone who has seen Drive will know in which scene that song plays), and ending with the totally moving «Bride of Deluxe». The interesting thing about Martinez’s work is that when analyzing the songs independently of the film, it would be difficult to imagine that they are part of a thriller with strong hints of violence. In the end, it was something risky with good results, always grateful for those scores that come to break the conventional norms. Martínez’s work also breaks with his own norms, since in previous works, such as the aforementioned Solaris, the piano is what rules. Now it is the synthesizer that rules, but always keeping his minimalist touch.

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