"Night Teeth" Soundtrack Lyrics

“Night Teeth (Soundtrack from the Netflix Film)” – Album Guide to Tracks and Key Scenes

Overview

What if a chauffeur movie sounded like the city driving you — arrival → adaptation → rebellion → collapse? Night Teeth frames its vampire-caper romance in cold neon and club thump: sleek licensed tracks for swagger, and a pulsing synth score that treats L.A. like one endless after-hours.

Benny (Jorge Lendeborg Jr.) subs in as driver and lands two clients who are not what they seem. The music mirrors his night-blooming naivety: pop-rap and glittering club cuts for temptation; left-field global grooves for detours; a chrome-plated synth score for the hunt. The official album is a 28-cue score set by Drum & Lace and Ian Hultquist, with the film’s source songs handling the party oxygen.

Distinctive here: the score isn’t wallpaper — it’s propulsion. Short, muscular cues (“The 3 Rules,” “Crossing the Line”) punctuate fast scene changes while needle-drops (Saweetie, Rico Nasty, Blondie) deliver character attitude in one bar. As per an interview with the composers, cue one (“Come Alive”) even blurs lines by featuring Lendeborg Jr. — the movie announces itself with its own in-world anthem.

Genres & themes (phases): glossy hip-hop & pop — seduction and bravado; alt-electro & club tools — chase grammar; vintage new wave update — coup de grâce irony; synth-score motor — fate closing in.

How It Was Made

Director Adam Randall leans into a neon-noir aesthetic and cut-to-beat pacing. The original score by Drum & Lace (Sofia degli Alessandri-Hultquist) and Ian Hultquist mixes analog pulse with glassy pads, synced to car POVs and club interiors. Music supervision comes via Rob Lowry and Maggie Phillips, whose catalog pulls keep the film’s night-world feeling expensive and current (as noted in several soundtrack roundups).

The score album dropped day-and-date with Netflix release (28 tracks, ~50 minutes), while source songs — from Saweetie to Blondie — live outside the score album on streaming. The effect is hybrid: a sleek score listen you can play straight through, and a scatter of high-impact needle-drops that puncture the story at precise moments.

Tracks & Scenes

“Got the Love” — Terrell Morris
Where it plays: ~00:11 — Benny leaves home in Jay’s car; montage of east-side streets, hopes bigger than the gig. Non-diegetic.
Why it matters: Sets Benny’s warm center before the night turns cold.

“Boom Boom Boom” — Cokah
Where it plays: ~00:16 — Zoë demands “a song that doesn’t suck”; the SUV becomes a mobile dance floor en route to party stop #1. Diegetic car audio bleeding to PA.
Why it matters: Hands the tone to the vamps: playful, predatory.

“Fast (Motion)” — Saweetie
Where it plays: ~00:20 — Slow-mo exit from the party; smiles, lipstick, and lure. Non-diegetic into stylized montage.
Why it matters: Pop-rap as siren call; the night speeds up.

“To the Top (Remix)” — SUNDUR ft. Keith Lawrence & Kicker Dixon
Where it plays: ~00:43 — Blaire floats her plan; smoke curls, loyalties wobble. Non-diegetic layer under dialogue.
Why it matters: Ambition theme for both seduction and survival.

“You Turn Me On” — Opus
Where it plays: ~00:45 — Jay’s crew sweeps Gio’s house; false calm in a gilded cage. Source cue inside the location.
Why it matters: Irony: domestic disco while the hunt tightens.

“High Beams” — Tkay Maidza
Where it plays: ~00:53 — Outside a club, an insult; Blaire kisses Benny to flip the script. Non-diegetic with crowd roar.
Why it matters: Confidence transfer in one hook; relationship pivot.

“Big Titties” — Rico Nasty & Kenny Beats ft. Baauer & EarthGang
Where it plays: ~00:53 — Club interior detonates; Zoë weaponizes attention. Diegetic PA.
Why it matters: Chaos anthem; comic menace with bite.

“Daemon” — Sundra Arc
Where it plays: ~00:55 — Night Legion encounter; laser rig, bodies moving like code. Non-diegetic electronic thrum.
Why it matters: Tilts from party to occult procedural.

“Girl Crush” — Boys Noize & Rico Nasty
Where it plays: ~00:59 — After a takedown, the vamps roam the club; Jay clocks Benny with them. Diegetic → non-diegetic bleed.
Why it matters: Hype track masking danger.

“Legend — ALG Mix” — Alice Longyu Gao
Where it plays: ~01:01 — Escape sprint out of the club; ecstasy-bright chaos. Non-diegetic chase energy.
Why it matters: Maximalist anti-subtlety = the point.

“Utras Horas” — Orchestra Baobab
Where it plays: ~01:06 — Abuela’s apartment; wound care, hush, perspective. Source music, low in mix.
Why it matters: Breathes culture and calm into the mayhem.

“Senden Başka” — Kit Sebastian
Where it plays: ~01:17 — Restaurant detour; Rocko holds court, intuition kicking in. Diegetic ambiance.
Why it matters: Off-beat groove for an off-balance scene.

“Yanimda Kal” — Kit Sebastian
Where it plays: ~01:20 — Toasts and teeth; the track flickers as violence interrupts. Brief diegetic sting.
Why it matters: Sweetness curdles — the film’s rhythm in miniature.

“One Way or Another (Re-Recorded 2021 Version)” — Blondie
Where it plays: ~01:30 — Victor closes in; Blaire pivots between loyalty and survival. Non-diegetic needle-drop.
Why it matters: Predator pop classic used as coup soundtrack.

“I Knew” — Sister Mantos
Where it plays: ~01:37 — Aftermath mirror moment; Benny and Jay make peace about the car and the night. Non-diegetic.
Why it matters: Tender reset before the final wink.

“Come Alive” — The Kid Daytona, Mez & Jorge Lendeborg Jr.
Where it plays: ~01:39 — Last shot and into credits; Benny’s world (and confidence) reboots. Non-diegetic into credits.
Why it matters: A diegetic-adjacent movie owns its own song victory lap.

Also heard: “Feel Something Different” — Bea Miller & Aminé; “To Live and Die in L.A.” — Wang Chung; “Damn Right Pt. 2” — Audrey Nuna & DJ Snake (additional placements across the night).

Notes & Trivia

• The score album launched alongside the film with 28 cues and ~50 minutes of music.
• “Come Alive” features Jorge Lendeborg Jr. — the lead literally raps the movie out.
• Music supervision is credited to Rob Lowry and Maggie Phillips; additional music department credits include Sarah McMullen and Mia Riggins.
• Locations double as music venues: clubs play diegetic bangers, then the score takes over for chases.
• Several global-groove selections (Orchestra Baobab, Kit Sebastian) add texture between the big pop hits.

Music–Story Links

Needle-drops sell temptation: Saweetie’s “Fast (Motion)” turns the backseat into a trap; Blondie’s 2021 re-record crowns a power grab. The score is the counter-spell — terse motifs kick whenever Benny faces the truce’s machinery. When Orchestra Baobab slips in at Abuela’s place, the film lets family warmth puncture the neon. And “Come Alive” rebrands Benny’s night as origin story — the last beat says he’ll keep driving this world, not the other way around.

Reception & Quotes

Critical response leaned “style over substance,” but almost everyone praised the moody neon and propulsive music. The score landed as a self-contained synth thriller listen, while the song picks kept social feeds clipping scenes to hooks.

“High on style but anemic on energy.” Bloody Disgusting

“Stylish Netflix vampire horror [that] needs more bite.” The Guardian

“Gets some flair with showy style… nearly every location becomes some kind of nightclub.” RogerEbert.com

Interesting Facts

• The opening cue title “The 3 Rules” mirrors the film’s vampire peace treaty.
• Blondie’s placement uses a fresh 2021 re-record — not a vintage master — for punch and licensing flexibility.
• Two Kit Sebastian tracks appear back-to-back inside the restaurant sequence — an unusually curated needle-drop run.
• Score label credits list Maisie Music Publishing under exclusive license to Sony — a Netflix-adjacent imprint path.
• Composer duo Drum & Lace / Ian Hultquist described building cues that could “shift with the car,” so edits feel like gear changes.

Technical Info

• Title: Night Teeth (Soundtrack from the Netflix Film)
• Year / Type: 2021 — Film score album (with additional licensed songs in-film)
• Composers: Drum & Lace; Ian Hultquist
• Music Supervision: Rob Lowry; Maggie Phillips (music execs/coordinators include Sarah McMullen; Mia Riggins)
• Label: Maisie Music Publishing (under exclusive license to Sony Music Entertainment); retail/press handled via Milan Records/Sony
• Release: October 20, 2021 (digital)
• Selected placements: Terrell Morris “Got the Love” (~00:11); Saweetie “Fast (Motion)” (~00:20); Tkay Maidza “High Beams” (~00:53); Alice Longyu Gao “Legend — ALG Mix” (~01:01); Blondie “One Way or Another” (2021) (~01:30); Sister Mantos “I Knew” (~01:37); The Kid Daytona/Mez/Jorge Lendeborg Jr. “Come Alive” (~01:39)
• Availability: Score streaming widely (28 tracks, ~50 min). Songs available individually; no separate various-artists album.
• Film: Netflix release — October 20, 2021; Directed by Adam Randall.

Questions & Answers

Who composed the score?

Drum & Lace and Ian Hultquist crafted a sleek, bass-forward synth score built for car POVs and club interiors.

Is there a full songs album?

No — the official release is the score; the movie’s needle-drops are available as individual tracks on streaming.

What’s the end-credits song?

“Come Alive” by The Kid Daytona, Mez & Jorge Lendeborg Jr., which also ties into the film’s character POV.

Which Blondie version is used?

The 2021 re-recording of “One Way or Another,” placed during the late-film power-play sequence.

Who handled music supervision?

Rob Lowry and Maggie Phillips, with additional music department credits including Sarah McMullen and Mia Riggins.

Canonical Entities & Relations

Sources: Vague Visages scene-by-scene song guide; Apple Music album page; Spotify album page; Milan Records release page; IMDb soundtrack & credits; Metacritic credits; Netflix/YouTube official trailer; composer interviews/features.

November, 18th 2025