Cinema Musica has published an audio preview of Thomas Newman’s soundtrack for Skyfall. Check out the embedded video after the jump for the three tracks New Digs, Severine and The Moors from the soundtrack album. As previously reported, the soundtrack will be released in Europe on October 29 and in the US on November 6 by Sony Classical and is now available for pre-order on Amazon. Check out our previous article for the full album details. Skyfall marks Thomas Newman’s first score for the James Bond franchise and his fifth collaboration with director Sam Mendes. The movie starring Daniel Craig, Javier Bardem, Judi Dench, Naomie Harris, Albert Finney, Ralph Fiennes and Ben Whishaw will be released stateside on November 9. Visit the official movie website for updates on the film
‘Skyfall’ Soundtrack Preview
Posted: October 9, 2012 by filmmusicreporter in Film Music AlbumsTags: James Bond, Skyfall, Thomas Newman
Thomas Newman defiantly adds a new flavour to the franchise, and I like it a lot!!
I really wanted to like this but I am not impressed – too much emphasis on guitar and quite frankly, nothing on these three tracks indicates this is part of a Bond film. No thematic development and only the Severine track really showcases the lush melodic side of an orchestra, Let’s hope these tracks are not indicative of the score in general!
Whilst having heard only these three very brief tracks and not wishing to rain on the composers parade at such an early stage, I have to say that it comes as no suprise to me that the score to Skyfall sounds as it does. These tracks all appear to have all of Thomas Newman’s compositional traits and instrumentation and for this listener lack any thematic
resemblence to a traditional Bond score. This could be said for much of David Arnold’s earlier Bond scores. In between every wonderful ‘Company Car’ or ‘City Of Lovers’ track there was plenty of ‘noise and filler’ in the soundtracks for TND, TWINE, DAD, etc. But the one thing that Arnold came to when composing the films was his love of the films and it’s long time composer, John Barry. This was reflected in the way that David Arnold wove some great themes into his scoring and the composition of some fine title songs (K D Lang’s ‘Surrender’ ith Don Black’s great lyrics springs to mind) At this early stage I tell myself to hold off on making judgement on Newman’s efforts until I have heard the full score to Skyfall, however after 40 years of listening to and collecting film music, the small
amount I have heard confirms my greatest fears, the same fears I had when reading EON’s announcement that Thomas Newman would score the film earlier this year: That he wasn’t up to the job. Nothing from his previous work has evidenced to me that he was going to offer up a lush, theme driven, bold and brassy score. Rather it would be ambient in style, full of drum loops, obscure instrumentation and a piss weak use of the Bond theme! From the soundbites issued yesterday, I’m still of that opinion!. (I am desperate to be proven wrong by the way) But I am prepared to go on record as saying that Skyfall will be a tremendous Bond film but it will be let down by a poor, ineffectual and inappropriate sounding score, which I’m pretty sure will be picked up by press reviewers and fan base upon its release. Lastly, it has to be said that looking at the modern film composers, certainly in the U.S, there is not one of them that is up to the job. In an industry that is sourcing film scores from the likes of Mr Zimmer and his mob, I wouldn’t trust any of ’em to sit the right way round on a lavatory seat let along compose film music!. Most have forgot the use of the application of melody and thematic structure in film scoring, telling a tale through music in film. The great American composers, John Williams, Alex North, Henry Mancini and New Haven, Connecticut born; Alfred Newman all had that great gift. I struggle to believe that Alfred’s son, Thomas is going to be able to rise to the task and prove he can apply those important factors of melody and theme when we finally hear the completed score to Skyfall.
OK, I have in front of me a promo copy of the new Thomas Newman Skyfall soundtrack. I have listened to the score twice. It is a musical disgrace. It is the worst Bond score in the 50 years the films have graced our cinema screens. Even given the, it may grow on me factor, this utter trash is shameful and bares no resemblence to a great James Bond score. EON take note, leaving David Arnold out of this picture was a massive mistake, no amount
of PR junket about what a wonderful job the composer has done can take away from the fact the Thomas Newman was the wrong man for the job. I am doubtful if this score really works against the images on screen, it certainly does not work as a soundtrack album. Its a score that is emotionally directionless, it lacks scale and scope, and the arrogance of bearly using the James Bond theme in the score is shocking. What was the man thinking of? Are we to think this kind of modernistic approach serves the franchise well. It does not.
This is a very sad day for film music and those that listen to it.
I hate this music. Its slow, tiresome, etc etc. YES!! Thomas Newman the wrong man, for this job.
They spend 100’s of millions of dollars to make a Bond movie, and yet this soundtrack sounds like something from a Lexus commercial. The music is one of the most important aspects of a Bond movie (Goldfinger- Shirley Bassey, Thunderball- Tom Jones) Barbara… Michael… how hard is it to get someone like John Barry? Alas, there was only one John Barry.
God, so many old farts whining.
Well, if there’s someone to blame, it would be Sam Mendes and the producers, because they have the bigger say about what music ends up in the film. Clearly, everyone who goes on about how they chose the wrong guy to provide the music, knows nothing about the composer himself. If they did, they wouldn’t go around complaining that much.
Also – something many people will hate me for – I don’t think people should take the Bond franchise too serious. Sure, there were some engaging and entertaining films during the last 50 years, but Bond is not holy. If you get to the basic stuff, most of it is rather obvious and trivial.
To me, what makes Bond interesting, is the subtle irony and 60s style, less the spy film aspect. I don’t get why people actually care so much about this. There were good films, yes, but not all of them were that great. Basically, it’s just something that has grown in people’s minds that disables them from judging objectively.
Then along comes a new composer who “does not sound like Bond” with more loopy and rhythmic sounds, who is known for not being as melody-centric as other composers because rhythm and colour interest him more. He’s also one to choose woodwinds over the holy brass, but for this film he has used much more brass than he usually does. He even does what is expected of him and still people are not satisfied.
Do people want John Barry back? This is not going to happen. Deal with it. Or stop watching the films. But don’t waste my time ruining this film for me. David Arnold? He also is not as good as people make him out to be.
The funny thing is, and this actually amuses me, that he is less conventional than other composers, but this is not what people want. There’s this elitist view that orchestra is superior to electronic music. So Jonny Greenwood is useless, too, because his scores are not orchestral? I don’t get it.
Anyway, I am one of those people who have not listened to the score before having seen the film, so I’ll leave it at that. I don’t care what people think about me for saying what I said. They won’t be convinced, no matter what I say. There’s something called “taste”, but here it’s only about conventions and what should have happened and everyone who does not agree knows nothing about what makes music good. I’ve had conversations like this before, I am used to ignorance and stubborn world views.
@ The Household Cat: you’re absolutely right in everything you wrote. BUT this won’t change the fact that this score is a little bit boring. This is kind of a low cost score for a big budget actioner…
Just saw the movie, and i have to say: the soundtrack works very, very well. Nice job Mr Newman!