"The Electric State" Soundtrack Lyrics

"The Electric State (Soundtrack from the Netflix Film)" – Album Guide to Tracks and Key Scenes

Overview

Can a road movie about a girl, a smuggler and a plush-faced robot sound like nostalgia and apocalypse at once? The Electric State tries — stitching ’80s/’90s radio staples to Alan Silvestri’s earnest, Amblin-tinged orchestral sweep. The result is a playlist that plays with memory: familiar hooks for a retro America, widescreen score for a brand-new wasteland.

As Michelle (Millie Bobby Brown) crosses a retro-futurist 1990s in search of her brother, the soundtrack keeps switching dials. Mixtape bangers underline spectacle and jokes; Silvestri’s themes do the heavy lifting in the emotional passages — the friendship with Cosmo, the prickly alliance with Keats (Chris Pratt), the last-act reckoning. When a needle-drop blasts during a firefight, it’s usually there to undercut the danger with a wink; when the orchestra swells, the film asks you to take the journey seriously for a minute.

Genres & themes, in phases: classic/alt rock — rebellious bravado; hip-house & pop-rap — comic swagger; lounge/retro curios — world-building ephemera; power ballad — bruised sentiment; orchestral adventure — found family and hope.

How It Was Made

Composer: Alan Silvestri — the Russos’ MCU collaborator — wrote the original score, released as The Electric State (Soundtrack from the Netflix Film) (25 tracks). Digital arrived March 2025 via Netflix Music; later in 2025 Mutant issued a double-LP. The licensed songs lean hard on ’80s/’90s DNA (Tom Petty, Danzig, The Clash, Marky Mark & The Funky Bunch, Judas Priest, The Flaming Lips), with “Champagne Supernova” (Oasis) providing the trailer mood in epic-cover form.

Music supervision: industry duo Manish Raval & Tom Wolfe handled the film’s song curation/clearances, shaping the jukebox that sits alongside Silvestri’s score.

Tracks & Scenes

“Mary Jane’s Last Dance” (Tom Petty & The Heartbreakers)

Where it plays:

Early in the film, right after the main title (~00:03:00). It rolls under an MTV News-style segment as Kurt Loder narrates cancellations and anti-robot sentiment — a pop-culture needle threading the alternate 1990s.

Why it matters:

Establishes alt-’90s nostalgia and media chatter — a world we half-recognize, already bent.

“Mother” (Danzig)

Where it plays:

Roadside crossing sequence (~00:25:00). Michelle clocks Keats from a distance; engines idle; tension hums as guitars grind.

Why it matters:

Signals danger/prickly alliance — a tough-guy anthem shadowing a reluctant team-up.

“I Fought the Law” (The Clash)

Where it plays:

Bradbury/The Marshall inspects a vehicle (~00:28:00) as Keats drives a semi into the next stretch; cutaways bounce between pursuit and flight.

Why it matters:

Punk inevitability as motif — authority versus outlaws in four chords.

“Take Me to the River” (Al Green) — diegetic gag

Where it plays:

Inside a warehouse (~00:30:00, reprise ~00:32:00 & ~00:37:00). The tune croaks from a Big Mouth Billy Bass; characters can’t help noticing.

Why it matters:

World-building by novelty — kitsch persists after the apocalypse.

“Tornerai” (Trio Lescano e Quartetto Funaro)

Where it plays:

Ethan’s (Stanley Tucci) interior scene with his mother (~00:46:00). Old speakers, cannoli, menace under manners.

Why it matters:

European vintage softens a hard man — a character tell wrapped in shellac.

“Good Vibrations” (Marky Mark & The Funky Bunch)

Where it plays:

Theme-park showdown (~01:09:00). Speakers blare as Tesla coils crackle; Keats yells, “I am not dying to Marky Mark and the Funky Bunch!”

Why it matters:

Comic dissonance — hip-house hype over live fire. The movie’s biggest wink lands here.

“Every Rose Has Its Thorn” (Poison)

Where it plays:

Late-act breather (~01:26:00). Taco plunks it on piano; conversations about past mistakes and what’s next thread through the ballad.

Why it matters:

Hair-metal penance — cheeseball sincerity that fits the film’s bruised heart.

“Breaking the Law” (Judas Priest)

Where it plays:

Action intercut (mid-to-late). A quick needle-drop flips a switch from sneaking to smashing.

Why it matters:

Literalized lyric as mission statement — the outlaws make it official.

“Yoshimi Battles the Pink Robots, Pt. 1” (The Flaming Lips)

Where it plays:

Closing credits coda. After the dust settles, playfulness returns — synths wink you out the door.

Why it matters:

Tone reset: from bombast to bittersweet pop-sci-fi.

Score highlights (Alan Silvestri)

Key cues to notice:

“We’re Always Connected” (overture warmth); “Kid Cosmo Arrives” (friendship motif); “The Cradle of a New Mechanized Civilization” (awe + dread); “Here’s Johnny” (horror-sting homage); “We Live” (end title uplift).

Why it matters:

Silvestri supplies the sincerity — the music that believes in people (and robots) even when the jokes get loud.

Trailer song

What you hear:

Oasis — “Champagne Supernova,” in an epic trailer-cover variant across early trailers (and playlist singles).

Why it matters:

Marketing leans wistful-cosmic — a sing-along haze for the road-trip myth.

Notes & Trivia

• Alan Silvestri’s score album launched digitally in March 2025 via Netflix Music; a 2×LP arrived in September 2025 through Mutant in partnership with Netflix.
• Raval & Wolfe’s supervision threads radio-era staples with diegetic gags (yes, that’s a Big Mouth Billy Bass).
• Instrumental/cover cues of “Don’t Stop Believin’,” “I Will Survive,” and “Wonderwall” appear in-film as texture, not full needle-drops.
• The final-trailer and promo beats highlight “Good Vibrations,” which also scores the film’s carnival firefight.

Reception & Quotes

The movie drew rough reviews, but even pans singled out the soundtrack’s amped-up nostalgia and Silvestri’s craftsmanship. Viewership surged on Netflix regardless — and the playlist traveled.

“A live-action take on a Pixar movie… aiming for emotional sweep.” — Reuters

“Netflix’s most expensive film… a flop by reviews, but the jukebox thumps and the score goes big.” — Business Insider

“Only 25.2M opening-weekend views — the spectacle didn’t translate, even with a starry playlist.” — Decider

Availability: Score streaming on major platforms (25 tracks); vinyl via Mutant (Sept 2025). Licensed songs are not bundled as a single album — use official playlists and the film itself.

Interesting Facts

• Amblin afterglow: The Russos publicly pitched the film’s vibe as Amblin-style; Silvestri leans into that lineage.
• Theme-park battle: The abandoned-park set was built in an Atlanta parking lot — designed to blast “Good Vibrations” at full tilt during the skirmish.
• Trailer economies: “Champagne Supernova” surged via multiple cover singles timed to the campaign.
• MTV flash: The opening uses an MTV News pastiche to time-stamp the alternate ’90s.
• Score tracklist Easter eggs: titles like “Here’s Johnny” wink at horror-canon moments folded into the set-pieces.

Technical Info

• Title: The Electric State (Soundtrack from the Netflix Film)
• Year: 2025
• Type: Film soundtrack (original score album) + licensed songs in film
• Composer: Alan Silvestri
• Music supervision: Manish Raval; Tom Wolfe
• Label(s): Digital — Netflix Music; Vinyl — Mutant (2×LP)
• Release context: Netflix release March 14, 2025; score album March 7, 2025 (digital); vinyl Sept 26, 2025
• Selected notable placements: “Mary Jane’s Last Dance” (title/MTV News opener); “Mother” (roadside stalk); “I Fought the Law” (Marshall pursuit); “Take Me to the River” (Billy Bass gag); “Tornerai” (Ethan & Elena); “Good Vibrations” (theme-park battle); “Every Rose Has Its Thorn” (quiet talk at piano); “Yoshimi Battles the Pink Robots, Pt. 1” (credits)
• Trailer/TV spots: “Champagne Supernova” (Oasis) — epic cover variants widely used

Questions & Answers

Who composed the score?

Alan Silvestri, reuniting with the Russo brothers; the digital album (25 tracks) is released by Netflix Music.

Is there a separate “songs” album?

No single compilation. Official/curated playlists mirror the film’s licensed tracks; the score album covers Silvestri’s cues.

What’s that theme-park fight song everyone quotes?

“Good Vibrations” by Marky Mark & The Funky Bunch — blaring diegetically while Keats complains he won’t die to it.

What song opens the movie’s world?

Tom Petty’s “Mary Jane’s Last Dance,” under an MTV News segment that sets the alt-’90s tone.

What’s the trailer song?

Oasis’s “Champagne Supernova,” used in epic cover versions across early trailers and promo playlists.

Key Contributors

Sources: Wikipedia—film page (credits, composer); Netflix trailer listings/YouTube; Film Music Reporter (album announcement); Apple Music & Spotify album pages (release/label/track count); TIME OUT, RadioTimes, What’s on Netflix, TheWrap (song lists); Vague Visages (scene placements & timestamps); Reuters, Business Insider, Decider (release/response notes); Netflix Tudum (final-trailer transcript/context).

November, 28th 2025