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13 of 18 people found the following review helpful:
1.0 out of 5 stars
Shaken but definitley not stirred, 12 Jan 2003
This review is from: Die Another Day [Enhanced] (Audio CD)
Madonna's theme song completely disregards Bond's prestigious musical tradition. Her techno/dance effort is far from the quality of songs produced by Carly Simon ('Nobody Does It Better'), Shirley Bassey ('Goldfinger', 'Diamonds Are Forever') and even K.D.Lang ('Surrender', Tomorrow Never Dies). The lyrics are bizarre whilst the jagged editing ruins any sense of flow (something Arnold decided to do with the score). Ironically, the songs effect in conjunction with Daniel Kleinman's opening titles is strangely haunting, however the song must stand on its own as piece of music divorced from the film and spectacularly fails to do so. The song is catchy but entirely inappropriate. The score by David Arnold is a rushed and uninspired effort. It contains no genuine dramatic punch or thematic weight. It is a poor and lazy amalgamation of motifs and electronic samples from 'The World Is Not Enough'. Nicholas Dodd's orchestrations are boring and to similar to those heard in all of Arnold's previous works, adding to the scores predictability. The album is far to short with only 45 minutes of Arnold's score included. Would it not of been possible to include the music from the surfing sequence in 'On The Beach' or the music accompanying Zao's escape from the Cuban clinic? The Oakenfold mix is pointless and unrewarding. The clanging percussion of 'Hovercraft Chase' is over powerful. 'Icarus' is a poor imitation/pastiche of John Barry's 'Spacemarch' style brass sound and the choral chanting is inappropriate. (George S. Clinton's spoof scores for the Austin Powers movies are far more effective in capturing Barry's 60's sound). Although used successfully in 'Moonraker' and 'Tomorrow Never Dies', the chorus sounds out of place here. The 'Antonov' track jumps genres so quickly it is impossible to adapt whilst the jollity of 'Welcome to Cuba' is disrupting to the flow of the album and irritating divorced from the film. The score lacks John Barry's mastery and touch of class. Even the softer cues on the album such as 'Jinx Jordan' and 'Jinx and James' contain a lack of genuine thought and invention. Arnold simply can't write those hauntingly beautiful flute melodies which Barry could produce at will (Octopussy). The album ends with a laughable parody of John Barry's finale cues, and, like the 'Antonov' track, 'borrows' to much thematic material from The World Is Not Enough. The song's melody (if there is one) is not used in the underscore but this is not Arnold's fault as there is little he could do with such a song. However, the score still contains insufficient original thematic substance and demonstrates no musical arc, pacing or sustained character development. 'Die Another Day' continues The World Is Not Enough's excessive electronic grounding. Once again the precise balance between traditional orchestral scoring and synthesised accompaniment is lost. Arnold messes around with the editing and consequently the flow of such cues as 'Hovercraft Chase'. The album suffers from Arnold's excessive over mixing of synth, drowning some marginally more interesting orchestral writing. The constant electronic drowning truly grates and the terrible electronic slashing reaches a head in 'Laser fight' as the synth beat becomes un-listenable. (Perhaps the electronic onslaught is the only way his music can overcome the excessive volume of the Sound FX in the film). The score feels appropriately modern and the techno beats and pulses deliver suitable drive but as with The World Is Not Enough, Arnold seemingly loses or forgets the inclusion of the 'Barryesque'. This is strange given Arnold's enthusiasm and admiration for Barry's James Bond music. Comparing new Bond scores to Barry's past excellence is a pointless exercise, but with such lacklustre efforts becoming, rather disturbingly, common place one can't help missing Barry's touch. Nobody has done it better. Arnold's score arguably rivals Eric Serra's 'Goldeneye' for worst Bond score ever. It will be interesting to see if David Arnold survives to score another day. I suspect he will but needs to do much better. The quality of the album as a commercial product and a musical whole is shocking. Positively shocking.
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1 of 2 people found the following review helpful:
4.0 out of 5 stars
Different but entirely appropriate, 2 July 2006
This review is from: Die Another Day [Enhanced] (Audio CD)
Everybody whines about David Arnold's Bond scores, particularly the most recent two. Yes it uses electronics, it use contemporary scoring techniques and, Heaven forfend, it features a contemporary song. This is a very different score to John Barry's efforts. But then, Die Another Day was a very different film to those earlier outings.
'Hovercraft chase' and 'Laser Fight' are among my favourite tracks, making use as they do of electronic rhythm sections, along with some of the more traditional Bond scoring techniques (high strings, rasping brass and that unmistakable "Bond sound") making them perfect for this, one of the most experimental and (dare I say it) best of the Bond films. Icarus's motif makes use of a huge choral section, which is a predictable, but highly effective move on the composer's part. We also have the rare pleasure of hearing the opening gun-barrel sequence.
It is interesting to note the reiteration of what would appear to be a new theme to the Bond series, first heard during the mammoth 'Submarine' sequence in 'The World is not Enough.' It can be heard on this soundtrack in the 'Anotonov' track, and consists of a simple descending phrase in the upper registers of the piano. Finally the obligatory 'Welcome to...' track in this film is a hugely enjoyable Latin style cue. I even liked the often-criticised title song. The most irritating track on this album is Paul Oakenfold's immensely tedious reworking of the Bond theme: he is a talented artist, but this is an entirely unnecessary and repetitive addition to another wise excellent Bond score, which is entirely appropriate to the film it came from.
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11 of 18 people found the following review helpful:
5.0 out of 5 stars
Die Another Day, 12 Dec 2002
This review is from: Die Another Day [Enhanced] (Audio CD)
This has to be one of the best soundtracks i own, quite simply! Compared to Tommorow Never Dies and World Is not Enough, David Arnold manages to improve on them, and create a superb soundtrack, that im gonna listen to again and again! Here are the details bout all the main tracks: 1. Die Another Day Theme: Madonnas finest song yet, and manages to keep the standard high for bond theme songs! 2. James Bond Theme: Not much changed here from the Moby version, but excellent futuristic sounds. 3. On the Beach: Contains the gunbarrel music, bar the gunshot! good introduction to the next track. 4. Hovercraft Chase: This has to be the best song on the soundtrack! repeats the 007 theme over and over! fast moving, makes u feel like ur actually bond! brilliant! 7. Jinx Jordan: This piece of music is a great introduction to Jinx, shame its quite short. 11. Laser Fight: Again, one of the best songs on the album, espeically near the end, when david arnold really lets go with the electrifying theme! 12. Whiteout: Another fast moving piece, really complements the soundtrack, providing more electric bits. Best near the end, when the 007 theme is played. 13. Iced Inc: Really really fast moving, makes u feel like bond driving the aston martin! 15. Going Down Together: Nice piece of music to end the film, just like The World is Not Enough. Overall, i really recommend this soundtrack to any bond fan, especially if u luv the new bond film. An essential purchase!
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