Volume One of Netflix’s “Stranger Things” was released Nov. 26, with Volumes Two and Three to be released Dec. 25 and Dec. 31 respectively. The new season continues the show’s remarkable storytelling through popular 80s music.
“Stranger Things” has proved that it can revitalize decades-old songs by including them in their soundtrack.
The most popular song of season four, “Running Up That Hill” by Kate Bush, became the #1 song on Spotify in both America and the UK, also reaching #8 on the Billboard Hot 100.
Instead of simply using music to fit the vibe of the story, “Stranger Things” purposefully uses music as a plot device.
Listening to their favorite songs was the only way the characters could escape the main villain of both season four and five, Vecna. “Running Up That Hill’s” immense success stemmed from its use in the scene in which Max uses her favorite song to escape Vecna’s grasp, saving her life.
The relevancy of “Running Up That Hill” continues into season five, where Lucas constantly plays it on Max’s bedside while she is in a coma from an attack by Vecna.
It’s revealed that the song continues to be Max’s tether to reality, where she nearly escapes being locked in Vecna’s memories in the new season because of Lucas’ unrelenting playing of the track.
But aside from the continued use of Bush’s revitalized song, the new songs of the season five soundtrack are just as good, and just as impactful. The trend in season five has been the use of irony or juxtaposition between an upbeat song and a devastating scene.
Instead of using expected sad or anxiety-filled tracks for this often depressing season, the show surprises viewers by using songs that don’t quite “fit” the scene.
My favorite instance of this was the use of “Mr. Sandman” by The Chordettes as the closing song of the episode where Holly Wheeler is trapped in Henry Creel’s (Vecna). Its eerie calmness and nostalgia is a thrilling contrast to the looming danger of the episodes to come.
For me, the standout track of season five has revealed itself as Diana Ross’ “Upside Down,” a nod to Hawkins’ dark alternate universe, the Upside Down. This is another example of the genius use of juxtaposition in this season. Its upbeat quality is unsettling for viewers, knowing that the current state of Hawkins is anything but upbeat.
Similarly, the use of “Fernando” in the scene where the Demogorgon attacks the Wheeler is exquisite. The simple gentleness of the track is another incredible contrast to the stress and anxiety of the scene.
The songs used in this season bring a new sense of maturity and closure—it really does feel like the final season. The soundtrack feels like a tying-together of the themes of the show and is setting the stage for the bittersweet ending of this magnificent show.
