Music in Gotham isn't just background noise. It’s the pulse. Honestly, if you were watching "Bliss" (The Penguin, Episode 3) and didn't feel the hair on your arms stand up during that final club sequence, you might have been looking at your phone too much. The music doesn't just fill the silence; it builds the tension until you're practically vibrating.
Oz Cobb is a man of specific, often gaudy, tastes. That reflects in the songs. But this episode—directed by Craig Zobel—takes a sharp turn into the emotional wreckage of Victor Aguilar. The The Penguin episode 3 soundtrack isn't just a collection of cool needle drops; it is a psychological map of a kid losing his soul to the Gotham underworld.
Most people watch these shows for the mob hits or the prosthetics. I get it. Colin Farrell is unrecognizable. But the sonic landscape created by Mick Giacchino (the composer) and the music supervision team is doing the heavy lifting here. It bridges the gap between the 1970s gritty crime cinema aesthetic and a modern, neon-soaked tragedy.
The Needle Drops That Defined Bliss
Let’s talk about that opening. We get a flashback to the night of the "Sea Wall" explosion, the catastrophic event from the end of The Batman. The choice of music here is jarringly domestic compared to the chaos. We see Victor’s family. We see the life he was supposed to have.
The music choices in the early scenes are meant to feel grounded. They feel like Queens or the Bronx on a hot summer night. Then the water comes. The sound design shifts from melodic to a low-frequency hum that mirrors the literal drowning of Victor’s old life.
One of the standout tracks that everyone was Shazaming immediately is "Me and the Devil" by Gil Scott-Heron. It’s haunting. It’s perfect. It plays as we see the transition of Victor from a victim of circumstance to a willing participant in Oz’s empire. The lyrics "Me and the devil, was walkin' side by side" aren't exactly subtle, but in a show about a guy nicknamed "The Penguin," subtlety isn't always the goal. It’s about impact.
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Then there’s the club music. Gotham’s nightlife has always been a character in itself. In Episode 3, we spend a lot of time in the sub-clubs and the drug dens where "Bliss" is being distributed. The music here is industrial, heavy, and claustrophobic. It’s the kind of music that makes your chest ache. It’s supposed to feel like a trap.
Why the Score Matters More Than the Radio Hits
While the licensed songs get the headlines, Mick Giacchino’s score is the actual backbone. If you recognize the name, yeah, he’s the son of Michael Giacchino, who scored The Batman. There’s a genetic level of understanding of this world’s sound.
The score in Episode 3 utilizes a lot of "broken" sounds. Think about Oz's limp. The music often has a rhythmic instability. It’s not a soaring superhero theme. It’s a limping, grinding series of notes that feel like they’re being dragged through the mud. In "Bliss," specifically during the scene where Oz and Sofia are negotiating their new partnership, the score is incredibly sparse. It’s just enough to make you feel like someone is about to get shot.
- The strings are often dissonant.
- The percussion feels like a heartbeat under stress.
- There’s a recurring motif for Victor that is much softer, usually played on a piano, which contrasts sharply with the metallic clanging of the Falcone world.
Honestly, the way the score interacts with the silence is the best part. A lot of modern shows over-score everything. They’re afraid you’ll get bored. The Penguin lets the city breathe. Or choke. Depends on the scene.
The Emotional Pivot of Victor Aguilar
Victor is the heart of this episode. Rhenzy Feliz plays him with this constant, flickering anxiety. The The Penguin episode 3 soundtrack follows his internal struggle. When he’s tempted to take his girlfriend and just leave—to go to California and forget Oz—the music is almost hopeful. It’s lighter.
But when he stands by the car, watching the chaos unfold, and decides to stay? The music drops into a deep, guttural bass. It’s the sound of a door closing. Forever.
I’ve seen some fans complaining that the show is "too dark" or "too slow." I think those people are missing the point of the atmosphere. The music is trying to tell you that this isn't a story about a cool mobster. It’s a story about a parasite. Oz is a parasite, and the music reflects how he consumes the people around him. The soundtrack for Episode 3 is the sound of Victor being consumed.
Comparing Episode 3 to the Rest of the Season
Each episode has had a slightly different flavor. Episode 1 was an introduction to the grime. Episode 2 was more about the high-stakes tension of the funeral. Episode 3 is the first time we really feel the "new" Gotham—the drug-fueled, desperate city trying to rebuild itself on a foundation of "Bliss."
The use of "Reeling" by Say She She adds a disco-funk layer that feels strangely out of place but totally right for the era Oz wants to project. He wants to be a big shot from a classic era. He wants the glitz. But the song is played in a context that feels cheap and dangerous. That’s the genius of the music supervision here. It takes songs that should be "fun" and makes them feel ominous.
If you go back and listen to the soundtrack for The Batman, it was very focused on Nirvana’s "Something in the Way." It was moody, grunge-inspired, and singular. The Penguin is more eclectic. It’s messier. It’s more human. It reflects a city that has been shattered and is trying to glue itself back together with whatever it can find.
What You Should Listen For on a Rewatch
If you’re going back to watch the episode again, pay attention to the sound levels when Oz is talking versus when Sofia is talking.
Sofia Falcone (Cristin Milioti) is a powerhouse. Her presence is often accompanied by a silence that is louder than any song. When she enters a room, the background tracks often fade out. It’s as if the world is holding its breath. Then, when Oz starts his "man of the people" routine, the music kicks back in. He uses sound to distract. She uses silence to dominate.
Also, look out for the transition between the flashback and the present day. The way the sound of the rushing water from the explosion morphs into the sound of the train overhead is a masterclass in audio editing. It links Victor’s trauma to his current environment. He’s never really left that rooftop where his family died; he’s just moved the trauma into a different part of the city.
Technical Details of the Production
The sound team didn't just pick tracks from a playlist. They worked closely with the writers to ensure the lyrics reflected the subtext of the scenes. When you hear a song in the background of the lounge, it’s not random. It’s usually a commentary on the power dynamic in the room.
For example, the track "Let’s Go To The Disco" is a deep cut that feels like it belongs in a different show entirely. But in the context of the episode, it highlights the absurdity of the criminal underworld. These people are fighting for their lives while a upbeat track plays in a dirty club. It creates a sense of "cognitive dissonance" that makes the violence feel more real and less stylized.
Final Practical Insights for Soundtrack Lovers
If you're looking to recreate the vibe of this episode, you need to look beyond the official score. The "vibe" is a mix of 70s soul, modern industrial techno, and dark ambient.
To dive deeper into the world of the The Penguin episode 3 soundtrack, start by exploring the discography of Gil Scott-Heron. His work captures that specific "Gotham" feeling of urban decay and poetic resilience better than almost anyone else.
Next, look into Mick Giacchino’s other work to see how he builds tension through unconventional instruments. He often uses found-sound percussion—sounds that aren't traditionally "drums" but provide a rhythmic, metallic clatter.
Lastly, pay attention to the labels. Many of the tracks used in the club scenes are coming from independent electronic labels that specialize in "darkwave" and "ebm." These genres are the literal heartbeat of the modern Gotham nightlife portrayed in the show.
To truly appreciate the craft, listen to the episode through a good pair of headphones. The spatial audio work—the way the music moves from one side of the room to the other as characters walk through the club—is incredible. You miss about 40% of the storytelling if you’re just listening through your TV speakers.
Go back and find the scene where Victor is in the car alone. Listen to the muffled music from outside. That’s the sound of a world he’s no longer part of. He’s in Oz’s world now. And in Oz’s world, the music always has a price.
Check the official HBO playlists on Spotify or Apple Music for the updated tracklist, as they usually add the songs 24 hours after the episode airs. Look for the "official" badge to ensure you're getting the curated list and not a fan-made one that includes songs that weren't actually in the show.
The next step is to watch Episode 4 with an ear for how the motifs from the first three episodes begin to evolve. As the "Bliss" drug takes over the streets, expect the soundtrack to become even more distorted and psychedelic.