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I also agree with the review (thanks for posting it @PeterGreenhil) and Deep Water is also my favourite track :-bd
Lot of commotion around here today so I haven't been able to hear the full effort, but I will say that it sounds like the best and most complete Bond soundtrack since Arnold's first effort, of which I am a big fan. Newman is doing many of the same things in this one with the use of the 007 theme, main title theme, and a romance theme used in varied pieces. This is how it ought to be done every time, a Bond movie needs this to establish a musical identity. I can already tell I'm going to enjoy watching how the music matches the images, which is the real litmus test as far as I am concerned.
@MrEon?
I will PM you as this was a confidential conversation.
Well you have a pretty "accurate" imagination and should definitely spoiler tag that.
As I'm a fan of John William's Leitmotif, I really missed it here.
On the other hand, more in the Bond trend, I like the big bassy sounds of Barry, which SF lacks.
So in the end, this soundtrack doesn't stand out, not only in the whole musical history of the franchise but even in the non-Barry group of composers.
Tell me something, can you hum a theme presented? Because I can't. Overall is not bad but doesn't have a theme that stand out.
I mean, I can hum the Empire's March, Casablanca's Time Goes By, Gone with the Wind, ecc. If you listen it in the supermarke you can remember the movie. That's what stands out from a soundtrack. The quality is important of course, but for that we have a legion of pieces by the classical masters, which I like and listen.
That said, there are some fantastic tracks. The 'love theme' with the main title song is seen in just one track, but it sounds great. The "Bond sound" is heard in over 75% of the songs I would say.
Istanbul tracks have that "Istanbul feel", like it should. You hear ALOT of the fast violin heard in The Dark Knight movies. It's a Top 10 soundtrack, but I don't know its place just yet.
I can imagine this soundtrack works very well in the movie!
We can hear this music in a very nice part of the movie.
I wouldn't call it classic but it is nice. The start is just like 'The Names Bond' from CR.
Personally, I would have liked them to have gone on longer in the big build up brass section which IMO is the best part of the theme.
;)
Can't wait to listen to it -- so exciting . . !
When I heard it in the movie I thought they'd re-used the David Arnold cue. On hearing the soundtrack album though I now realise it's a re-recording - at least in terms of the muted trumpets bit at the start.
Guess the editor had the DA track in there as a guide and TN was asked to keep it.
No surprise since it really works - big crowd pleaser.
In reference to "hummable motifs"...I can understand the want for that. The John Williams approach ads to a film and gives it a "sonic identity" if you will...however...in the case of a Bond movie...it already has a sonic identity: The James Bond theme. When we talk about Gone With The Wind, or Star Wars...those are the themes that are unique to them. So when it comes to a James Bond score...it can be brassy...it can be subtle...it can be whatever the film needs it to be...and as long as we have those chord progressions hinting at the Bond theme...or a full out balls to the walls guitar twang moment...I'm happy.
I think in that sense Thomas Newman has succeeded. This is a modern and refreshing change from Arnold. While Arnold has been fantastic post-DAD...I'm happy there is a brief breath of fresh air from a new composer.
Voluntary Retirement - The transition took me by complete surprise, and definitely hints of suspense there. Interesting to see where its being used in the movie.
Brave New World - Does not sound like it should belong in a Bond movie...which is, IMO, fantastic.
Modigliani - Very Barry-esque, Arnold-Romantic. Nice to see this be consistent through the composer changes.
Komodo Dragon - This...this is taking the best of Arnold and bringing it to another level.
Tennyson/Inquiry - Immense buildup followed by a distinct melody that is nothing original, but still sounds very fresh to my ears. Brilliant by Newman to include that pause/delay between the two tracks.
Breadcrumbs - Already talked about, but damn, what a good Bond theme rendition!
She's Mine - Hans Zimmer composing the Bond Action theme? Also, managed to hear some LALD in there...
Mother - Very quiet, very emotional. Curious to see where this will be used in the movie. Sounds like something from Danny Elfman and Spiderman!
In conclusion, I can't really give out a grade based on how Newman uses this in the movie. But what I can tell you is that I think half the tracks in this OST does not seem "Bondian", which has my curious as to how the movie can incorporate it while retaining the roots of Bond!
spoiler tagging this as pretty much everything needs to be spoiler tagged nowadays: