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I hope I'm wrong, but it seems that it's not available online publicly, given that bondsum can't disclose the source.
Can I get a link to the radio show?
Wonder if we get any leaks soon. I’m dying to listen to it.
I need to hear "Final Ascent". Bad.
Hopefully we'll see some of the ost floating around the internet!
Big +1 to that! I want all of it haha, but especially that intriguing number. I've been thinking about this film having a TDKR style ending a lot.
A seven-minute piece connected with the end of the film that has such a mythologically-loaded name such as "Final Ascent". Which, presumably, follows Bond's journey into Lucifer Satan's Hell.
Come on.
Come on.
Composer: Hans Zimmer
Score: Steve Mazzaro
Irrespective of the Zimmer/Mazzaro split, are any other additional composers credited?
I never realised that composers come up with outline melodies and then scorers translate that into the orchestral score until James Bond Radio interviewed John Barry’s “scorer” - might not be the correct term
Where..?!
I feel like I’m the only one that isn’t able to listen it. XD
Anyway, great to have those clues in the film.
Ah I thought when you said OHMSS you meant WHATTITW... so barry's theme is actually in there? WOW...where can we find it as per Matt_U's questions?
Nope, I meant both. I've amended my earlier spoiler-centric post as a confirmation. Go back and have a look. Probably best to keep this info under your hat and concealed within spoilers in case you upset those that stumble upon it and don't want to know these details before seeing the actual movie. You know how some folk are. They sneek down to have an early peek at their Xmas presents, then blame you for leaving them out under the Xmas tree.
Obviously I can't supply a link to the score in an open public forum, but it's out there.
//
From filmscoremonthly forum:
I have been fortunate to receive an advance copy of the score. Made available to the press. Just had a quick listen to some of the cues. This is much better than I anticipated. Not a Zimmer sound design experiement at all. Very, very melodious in the slower cues. The action cues are a cross between Arnolds QoS and Newman. The brass is as Bondian as you can get. And. And. Boys and girls….John Barry is in there. Not just as an inspiration. Actual quotes from We Have All the Time in the World. Intervoven with snippets of the Eilish song. And a full, slower version of Barry’s OHMSS main titles. The James Bond theme is in there, but sparingly. Muscular, pounding phrases of it. Might be more of it in the film, than on the score. Not much Marr-guitar to be heard, so far.
score review by Benjamin Lind from "The Bond Bulletin" :
Without giving away anything, the second track ("Matera") creates instant goosebumps as it contains a musical cue that Bond fans across the globe cherish very much (no...it's not the JB theme yet). It is poignant.
Although there are many audible influences of David Arnold and Thomas Newman, Zimmer's brute and violent side shines through and dominates much of the score.
The Cuba track starts very erratic and continues the overall drum-driven score. A highlight mid-track is the short shift into a few second of Cuban Mambo...or is it a Cha-Cha...Salsa even? ?? Then, quite abruptly, back into brutal drums. It's like a rollercoaster ride.
The Bond theme is appropriately used throughout with those moody guitar riffs beautifully shining through. "Back to MI6" utilises the prominent part of the Bond theme.
And then again...goosebumps! Track 11 ("Good to have you back") is an entire rendition of another theme of the series. Quite a surprise. The piano segments of the Billie Eilish title song make an appearance in the next track, halfway through the score. Track 13 delivers a title theme rendition in quite a haunting manner.
The Norway Chase is typical Zimmer - drums, choir and strings, infused with Bond-esque trumpets. For the final 90 seconds it picks up considerable pace but fails to impress me.
From track 15 onwards, Zimmer presents the finale of the film. At first, it's minimalistic and eerie, especially Track 17 ("The Factory") which features long, ascending string segments. Track 19 ("Opening the Doors") goes back to full-blown action with rich drum/trumpet arrangements and thick layers of usual Zimmer overload.
The final track before the Billie Eilish title theme, entitled "Final Ascent", starts subtle and then turns somewhat melancholic, repeating the title theme piano and reducing the track down to it. Where I expected an action piece, I got a very strange and incredibly sad vibe from the music...like something big was ending. Soaring strings and piano that have the potential to make you tear up. It sounds like deep pain and big loss. The end is abrupt and it leaves you with a big question mark. It is the end of an era and I think, the music reflects that well.
Overall, Zimmer's score is a mix of moody pieces, nostalgic excursions to past Bond scores and ear-piercing, drum-laden action tracks á la Zimmer. Musically, it fits well into the Daniel Craig era sound but I would personally rate it much higher than what Thomas Newman delivered for the last two films. My favourite part is the first half (Tracks 01 - 13), after that I didn't really feel any connection to it without having seen the film itself.