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Hans Zimmer's NO TIME TO DIE (2021)


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It is actually quite...good? :)

 

EDIT: Looks like it has been taken down. Suppose it wasn't official then? I liked the 4-5 tracks I've heard. Will be getting this CD for sure!

 

Karol

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Finally listened to podcast episode that interviews Zimmer about this score. And from the early reviews of the score it sounds like a great melodic action romp akin to WW84. Glad Zimmer decided not to think about this one too hard and “reinvent” the sound. 😀 Can’t wait!

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17 hours ago, Lord Zimmer said:

The irony that Dune will more likely get an Oscar nom than this...

because Dune is better than this one :)

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It's good. It's solid good. OTOH if you're going to structure a score based on the Bond Theme, Arnold has just about done it all, hasn't he?

 

Matera is actually a really good track before it turns into what it does. But then No Time To Die starts to play and I catch my breath. Well done.

 

I never hated the Newman Bonds like many do. They're OK. But they're not ones that I go back to either. This will probably fall into that category as well.

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On 23/09/2021 at 8:49 AM, Jay said:

Even if it does, that's not what Irony is

If it did win, and it was the worse score, and you were expecting the best score to win, then it could possibly be, because it would be the opposite of the expected result, I guess

 

https://www.merriam-webster.com/dictionary/irony#examples

 

 

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Man I am trying very hard to avoid spoilers from people who listened to the whole thing. But I love "Matera" and "Shouldn't We Get To Know Each Other First." It is so much more Bondish than what Newman came up with. 

 

 

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On 25/09/2021 at 4:18 PM, publicist said:

 

The outstanding stuff is exclusively Barry, of course, and its only the usual tip of the hat for the fanboys, but man, you listen up when these OHMSS references come in and ask yourself why current film music is what it is. Is stuff like that not good enough for movies nowadays?

It's a shame producers/directors will push for references to the classics, but are so rigid in wanting music to be nothing more than nice background wallpaper. I think it just makes these scores sound strange that there are moments of pastiche-driven callbacks that end up feeling alien to the rest of the score. How do you go from melody-driven romanticism to post modern droning sound design? 

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I think that's been my main issue with NTTD, in that it basically sheds the pastiche after a certain point, and becomes so strongly drenched in near direct lifts from Zimmer's past efforts, no doubt thanks to the time crunch and temp track love. WW84 runs into a bit of a similar issue, but it has plenty of narrative and thematic tissue to justify it (as well as still being able to forge a solid identity of its own). Perhaps the full score is able to amend these issues a bit, but as is, it's quite unfortunate that the score's strongest suits are purely tied to either previous efforts in the franchise or HZ's own work.

And yet, I still had fun? Dune is technically the more cohesive and sonically interesting effort, but this just hits all my buttons for a trashy RCP effort that I can totally vibe with. I just wish it wasn't so derivative, since I really can't think of another Hans score that is this blatant in recycling everything.

Then again, I probably still would rather any of this than whatever much of BvS was.

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I really like it up until the final few tracks. What I presume is the third act. And it's not that I dislike the final tracks but they seem the most derivative for me. But my bigger issue is that the Spectre album had the same problem - the final act devolves into a wall of sound, continuous churning with not much variation.

 

On the other hand, Cuba Chase is a wonderful return to Arnold's style and feels like where Arnold was heading with Quantum of Solace. I also really enjoy Message From An Old Friend - there's something interesting in the way it builds up to what I assume is the big action set piece shown in trailers.

 

I also appreciate that Zimmer wasn't tempted to overuse Johnny Marr as a gimic, ala the drum circle in Man of Steel. I find Marr's contributions accentuate the greater whole.

 

I'll be having this album on repeat for a while. My only wish is that the final set piece had gone balls-out like Arnold used to do (see All In A Day's Work, Submarine and Perla De Las Dunas).

 

One other gripe. The score kind of just ends. The final track is an emotionally manipulative Time from Inception lift. It's pleasant enough but doesn't resolve. I presume the film will end with a Bond theme rendition, which I suspect will be Arnold's arrangement since it featured so heavily in the official podcast for the film.

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So I guess I killed this thread. Seems to happen a lot to topics I post in.

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I gave about half of it a listen and it is quite ok. All the good parts are of course John Barry quotes or the song, the rest is orchestral Zimmer techno. But I expect it to be working well in the movie.

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Definitely has some good elements, but I need to playlist it to make it work.

 

I absolutely LOVE that the power anthem is making a small and subtle comeback in the tracks "The Factory" and "I'll Be Right Back". I noticed it in the film, and I loved to hear it on the album.

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6 minutes ago, Thor said:

Definitely has some good elements, but I need to playlist it to make it work.

 

I absolutely LOVE that the power anthem is making a small and subtle comeback in the tracks "The Factory" and "I'll Be Right Back". I noticed it in the film, and I loved to hear it on the album.

'I'll Be Right Back' was the first track I listened to and I thought I accidently clicked on Dark Knight Rises 'Chasing the Convoy East':lol: I like the two tracks you mentioned very much, nice action cues. Looking forward to see the film!

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43 minutes ago, Thor said:

I need to playlist it to make it work.

 But that would break the composer's intended presentation, you can't do that.

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I think if the OST is in chronological order, then you can safely rearrange it however you want and not have to fear the wrath of Zimmer.

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Yeah, it's a common misconception that I think all composer-produced albums are "untouchable". I don't. I just need the composer/producer to present a curated listening experience to begin with, and then I can draw my conclusions from there (or even playlist it further, if needed). I'm going to playlist/whittle down both this and DUNE.

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Most likely from people who jump to conclusions without reading the contents properly.

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