Unleash Your Ears: Gogol Bordello’s Domination in James Gunn’s Creature Commandos

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As a die-hard movie enthusiast, I was thoroughly captivated by James Gunn’s inaugural venture into the Marvel Cinematic Universe with 2013’s “Guardians of the Galaxy.” In that film, he demonstrated masterfully that a compelling soundtrack can be as integral to a movie as any other component. The film’s skillfully chosen selection of ’60s and ’70s pop hits breathed new vigor into old tunes and played a pivotal role in defining the character of Peter Quill. Fast forward to the 2017 sequel and the 2023 threequel, Gunn once again showcased his knack for this artform, illustrating that a good soundtrack isn’t merely about supplying ambient music; it can articulate the inner worlds of characters and the universe of the film.

Recently, James Gunn has showcased his talent for selecting catchy tunes, a skill he honed with Peter Quill’s “Awesome Mix,” in his new position as creative leader of the DCU. This is evident in the DCU’s inaugural project, Creature Commandos, an animated series that boasts a unique soundtrack filled mostly with lesser-known tracks, contributing to its distinctive audio identity. Despite the array of bands appearing throughout its seven episodes in the first season, one band appears more frequently than others, earning them the title of the Creature Commandos’ unofficial resident band.

The Band That Gives ‘Creature Commandos’ Its Sound

It’s widely agreed that Gogol Bordello, a “gypsy punk” band from New York City with members hailing from various parts of the world, plays a crucial role in the universe of Creature Commandos. The group, which includes musicians from Russia, Ecuador, Brazil, and the US, is fronted by Ukrainian-born leader Eugene Hütz. Since their first appearance in 1999, they’ve amassed a dedicated following for their electrifying performances and music that blends genres to reflect their diverse heritage. Additionally, Eugene Hütz has ventured into acting, sharing the screen with Elijah Wood in Liev Schreiber’s debut film Everything is Illuminated (2005) and Madonna’s Filth and Wisdom (2008).

The band blends punk rock with Romani and Eastern European tunes, incorporating violins and accordions to echo the music of Hütz’s homeland. Their songs are featured extensively throughout the show’s first season, providing the soundtrack for many of its action-packed scenes, such as The Bride’s epic battle with Eric Frankenstein in episode two and Rick Flag and Eric’s fight with Clayface in episode six. In fact, they were so integral to the series that Gunn and director Sam Liu went the extra mile to animate them for a special appearance during the montage in episode two. Given the effort required to create that animated sequence, it seems this wasn’t a hasty choice.

Gogol Bordello’s music would perfectly suit the Creature Commandos for several reasons. To start, the band’s Eastern European flavor effortlessly mirrors the backdrop of the series, the fictitious nation of Pokolistan, a destination reminiscent of embattled real-life Eastern European nations. The group’s diverse and fusion-oriented music style blends well with the Commandos themselves – an eccentric mix of outcasts whose unique abilities coalesce to form something greater. Lastly, their punk spirit echoes the Commandos’ knack for demolition and their defiant stance against authority.

‘Creature Commandos’ Musical World

In keeping with the eclectic style of Gogol Bordello, the music for Creature Commandos follows this pattern, blending world music, Romani, and cabaret genres to establish its unique soundscape. The theme song, “Moliendo Café” by Fanfare Ciocǎrlia, a Romanian brass band, harmoniously combines Romani influences with Mariachi-esque elements through its prominent brass section. Tracks such as Firewater’s “Hey Clown”, which plays during the finale of episode six, share the same musical roots as Gogol Bordello, exuding a raw, punk energy that suggests a brawl could erupt at any moment.

In this show, various musical pieces mirror the emotions and personalities of the characters, or enhance pivotal scenes that define them. The third episode, titled “Cheers to the Tin Man,” focuses on the transformed Nazi-fighting robot, G.I. Robot. As he achieves a moment of tranquility while annihilating the Sons of Themyscira, the Dresden Dolls’ lively tune, “Coin Operated Boy,” plays in the background. This upbeat cabaret song contrasts the brutal violence but also fittingly symbolizes the gentleness hidden within G.I. Robot’s lethal programming.

Other tunes skillfully delve into the characters’ psychology, serving as if they were their inner thoughts. The final episode of the season, titled “A Very Funny Monster,” delves into the past of Nina Mazursky, from her early days as an outcast at school to her teenage years plagued by bullying. In a flashback scene, Nina is tormented and ignored by her private school peers, prompting her to run away and search for life in the sewers. This sequence plays alongside The Dead Brothers’ “I Am All I Got,” a song about self-reliance, which aptly reflects Nina’s solitude and her choice to face the world on her own.

As a devoted fan, I can’t help but admire James Gunn’s knack for selecting just the right music to enhance his stories, and that’s evident once more in the creation of Creature Commandos. With season two on the horizon, I’m eagerly anticipating the musical magic he’ll weave in his upcoming Superman movie – a production brimming with unique and memorable soundtracks all its own.

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2025-01-17 02:33