It's all about the classical music composers and their works from the last 400 years and much more about music. Hier erfahren Sie alles über die klassischen Komponisten und ihre Meisterwerke der letzten vierhundert Jahre und vieles mehr über Klassische Musik.
And, as with Skyfall, Thomas Newman has written the soundtrack. So we were expecting epic brass, moody sweeping themes and a fairly ridiculous amount of percussion.
And BOY is that what we’ve got.
Exclusively and just for you, here’s part of the brand new Bond soundtrack.
*pours self a Martini*
Were you lucky enough to hear John Suchet’s exclusive play of another track from the soundtrack this morning?
He played the fairly lively ‘Backfire’.
In case you missed it and ‘cos we spoil you, here it is again:
Want more of that (and who the heck wouldn't)? The whole soundtrack is released on Decca records on 23 October – and you can order it now right here.
Here’s the trailer, featuring some pretty killer new Thomas Newman sounds:
So, these are the things we’ve learned about the soundtrack, just from a two-minute trailer:
It only takes 19 seconds for the Bond motif to arrive
POW. There it is. Ba-da, ba-daaaa! And with all the hallmarks - Daniel Craig! MGM screen! River Thames! We’re back in the world of Bond.
Spectre is due to premiere in October, and Thomas Newman's soundtrack reportedly will contain over 100 minutes of new music.
Sam Smith has released the official theme song for Spectre
It's called 'Writing's On The Wall', and it's pretty ruddy sultry, if not immediately Bassey-iconic. Have a listen:
Just listen to that lush orchestral opening - it's so Bond. Does it give us any idea about the forthcoming Thomas Newman soundtrack for the whole film, though? It's not unheard of for Bond theme songs to incorporate music from the movie's soundtrack itself, but in this case it doesn't seem too likely.
Sam Smith has quite proudly stated in the press that the song took him and his writing partner, Jimmy Napes, just 20 minutes to write. With that in mind, it would've been a bit of a stretch to bung in some of Thomas Newman's themes while they were scrabbling around trying to, y'know, actually write the thing.
But then, around the three-and-a-half minute mark, there's some rather striking orchestral work with rumbling lower brass and tinkly piano to the fore. Are any of these themes going to crop up in the main Newman score? We will have to see...
