38 of 38 people found the following review helpful
on January 12, 2005
This film score compliments the movie as much as any orchestral piece would compliment a ballet. But there's more to John Powell's upbeat and unconventional film score than just that (though that alone does place it above the average film score).
If one were to listen to this music, not knowing anything about the film, one would hear the music of a heart-pounding action movie, an emotionally-charged drama, and an edge-of-your seat suspense thriller. What I like best is when Powell takes two or three of those themes and weaves them into the same track. He does this best with the opening track, "Goa," "Funeral Pyre," "Nach Deutschland," "To the Roof," and "Alexander Platz/Abbotts Confesses".
I especially love the way the soft, mellow sounds of "Atonement" follow right after the extremely upbeat "Bim Bam Smash". It provides a fitting end to the scoring part of the soundtrack; and ending finally with "Extreme Ways" by Moby.
Other action film soundtracks I'd recommend include THE HUNT FOR RED OCTOBER, PATRIOT GAMES, RAIDERS OF THE LOST ARK, and, of course, THE BOURNE IDENTITY.
28 of 29 people found the following review helpful
on August 9, 2004
If you have bought the soundtrack and have discovered that the song from the Moscow Club scence where the russian assasian is sitting with the ladies, Fear not! It's called "Intothinair" by Mocean Worker and can be found on his album, "Aural & Hearty".
15 of 15 people found the following review helpful
on September 27, 2004
I have been playing the soundtrack from The Bourne Supremacy (TBS) over and over and I am very impressedhow well this music stands on its own, as well as how well it works in the film. In fact, I believe it is vastly superior to the music for The Bourne Identity (TBI), which sounds more like sketches for TBS.
If you listen to the tracks for TBI on the CD and then see how they work in the DVD, you can hear that Powell was working with weaker material, or at least with weaker development of the original Bourne themes. It's the integration of the music with the movie sequences (e.g., Atonement) which demonstrates the superiority of how he handles his material.
Powell has a tough task, since the Bourne screenplays are not the most powerfully emotional scripts ever written. Rather, they are puzzles, into which cool reserve masks human emotion. In TBS, there really is no emotion after Marie perishes, since Bourne himself is a cipher, whose own life experiences is psychologically supressed. He wants out, but cannot get out, even as far away as Goa.
TBS is filled with grand gestures, which always seem right for the film's sequences: consider his use of strings in the To the Roof sequence, which is largely devoid of other instruments, and is especially reminiscent of pages from Shostakovich...not from his film scores, but from his 8th and 11th Symphonies. Yes, Powell uses a lot of rhythmic drive, especially in his use of percussion. However, the motoric rhythms all seem right: Bourne is a human machine who works according to his instincts, which have been synchronized perfectly due to his training.
As much as I love To the Roof and the Russian car chase scene (Smash, indeed!), it's the Goa, Atonement and Nach Deutschland sequences which are musically most poignant. Why? because they hint at the emotional life of the character which is trying to emerge -- expressions of tenderness, fear, sorrow -- but which yet stay psychologically repressed. The music is cool, yet not quite detached. Powell's use of the vibraphone is especially memorable here.
TBS is a real triumph of music craftsmanship and creativity. It is far superior to the TBI score. I highly recommend it as one of the best scores since last year's memorable Glass score for The Hours.
23 of 25 people found the following review helpful
on July 30, 2004
For fans of the last film's soundtrack, of whom I am one: this one is similar, perhaps too similar. There are no surprises here. If you are new to John Powell's music for the "Bourne" films, you will enjoy this album, but those who already have the older one can safely skip this one: it is as if the older film's music has been retaped with some little extras (guitar, percussion) tossed in. It IS nice that the Moby track is included on this disk.
11 of 11 people found the following review helpful
on June 11, 2005
The old spy genre still has space for fresh visions. In Bourne, John Powell has crafted one of the most intense soundscapes ever contrived for film.
From one track to the next, the high tempo pieces move with an unrelenting pace. Yet by the end, one acclimates.
Likewise, the natural instruments mixed in with synths form a strange union, at first slightly jarring, as if the soundtrack included video game bleeps, but ultimately, a strange unity. One acclimates.
Finally - the pace, that relentless set of strings that vies with drum rhythms for your attention. Which raises the question: where is one supposed to listen to it? Too fast for helping concentrate at work/study, too slow for working out, and the exhaustive tendency of sustained tension makes listening to it while driving...well, likely to lead one to attempt film stunts.
In short: I like the sound, I've just no idea when to listen. Which fits Bourne perfectly. Contrast to that other JB-spy, whose familiar, sunny "surf music" guitar theme signals some new intrepid feat by the dapper Brit who fits in anywhere; Bourne, on the contrary, fits nowhere. His theme may signal some feat, or some tragedy, or simply the endless tension.
Yet somehow, Powell strikes a fittingly tragic air - a synthetic tragedy, to be sure, like everything else about Bourne. Should our hero escape some new threat, will anyone care? Not likely. But he struggles anyway. The soundtrack treads tenderly on such bleakness, and as such, reflects what soul Bourne retains.
Don't miss this gem: overlooked almost everywhere, not generally useful for passive listening, yet deep and powerful. Perhaps the ideal soundtrack for a power walk.
10 of 10 people found the following review helpful
on August 4, 2004
I love this soundtrack! I decided to buy the CD the moment I heard the Goa track while watching the movie in the theater. Then there is the "walking" theme, as I dubbed it, played several times when shots of cities are shown and Bourne is on the move. It further solidified my decision. I am so glad I bought it. There is not a single track that I will miss. I have been listening to the whole soundtrack cover to cover since I got the CD yesterday. Basically there are three major themes:
* The Goa theme: most prominently in 1. Goa and 12. Atonement
* The chase theme: most prominently in 4. Gathering data, 6. To the roof, and most of other "action" pieces.
* The walking theme: most prominently in 5. Nach Deutschland and 10. Moscow windup. After watching my TBI DVD again I noticed that this theme was also in TBI but it just seems to stand out more in TBS.
Of course there is Moby's Extreme Ways, which is excellent. It was not in the TBI soundtrack but fortunately is included this time.
I don't have the TBI soundtrack, because I really don't think the score was all that good. I actually didn't pay attention to the music at all. It's either because the movie was so good that I simply ignored the music, or just because the TBI score failed to grab my attention. However, the music for TBS is actually the highlight of the movie. As in most soundtracks, there will be variations (or rehashing) of the same theme, but trust me, none of them is boring or repetitive. My only gripe, is that it is too short :-)
8 of 8 people found the following review helpful
on February 14, 2006
I enjoyed this soundtrack immensely. Having heard the background themes to the Bourne movies from the movie, I knew right away that I would like the soundtrack.
The soundtrack is mainly a combination of electronic and orchestral themes except for the last song by Moby, "Extreme Ways". Instead of basing the soundtrack on one or two main riffs, the pieces rely on multiple riffs. While in some respect I wished that John Powell could have expanded some of the pieces (like Gao), I was satisfied that there was enough genuinely unique material throughout.
Regarding the song-content on this album, there is mainly orchestral pieces as mentioned earlier. I did some research on-line and found that the song in the chase-scene of the first Bourne series, The Bourne Identity, is by Paul Oakenfold - 'Ready Steady Go'. Also, the club music in the second Bourne series, The Bourne Supremecy, is by Mocean Worker - 'IntoThinAir'. Two great artists that I hardly knew about before the Bourne series.
7 of 7 people found the following review helpful
on March 26, 2005
I'm not a real soundtrack fan, but after watching the movie, the first thing I noticed was the music. Dark, moody, kept slightly in the background, but really good music. Almost all the tracks are just...amazing. My favorite would have to be Nach Duetschland,because the percussion, computer stuff, and strings blend together so well it's scary. Powell is just brilliant at tying everything together in such a way that all the music fits together perfectly. Here's a rundown on my thoughts abot the music:
Goa: Nice. Kinda Caribbean type stuff. The guitar makes it sound really cool.
The Drop: Dark, begins to show highlights to what's coming ahead in both movie and soundtrack.
Funeral Pyre: The piano really stands out in this one, and the cresendo towards the end of the track is a nice touch.
Finding Data: Cool. It just sounds cool.
Nach Duetschland: Favorite one! Mournful, but really, really pretty.
To the Roof: Awesome! The beginning is a little slow, but as the strings begin to tie in more with the computer and drums stuff, it sounds neato.
New Memories: Now, this is just my opinion, but I kinda didn't like this one. The basoon is cool in the beginning, but this song itself it a little slow.
Berlin Foot Chase: So Cool! The cellos and basses, although constantly repeating the same stuff over and over, set the mood for, well (duh) a chase. The string scales in the middle is awesome.
Alexander Platz/Abbotts Confesses: Eh. The beginning in this is a little slow, but if you hang tight past the second minute mark it gets better.
Moscow Wind Up: Very, very awesome. Sounds a lot like Nach Duetschland, but longer, and it picks up the pace as you continue. Another favorite.
Bim Bam Smash: A little techno, but that's okay. Follows a car chase that is better (yes, better) than the one from Bullit. Altogether, a good song.
Atonement: Short, sad and beautiful. It's a nice cool-down from Bim Bam Smash.
Extreme Ways: Lyrics fit the movie perfectly. It's a smart way to end the soundtrack.
Altogether: If you like fast-paced, intelligent music that keeps a good beat, get this soundtrack! I highly, highly recommend it.
5 of 5 people found the following review helpful
on June 20, 2005
The first track alone is worth the price of the entire sound track. But the entire album together is a masterpiece. The pleasant blend of instruments includes the entire orchestral suit plus an added surprise of Indian Drums which add drama and tension.
Composer John Powell has an enjoyable soft touch which makes the entire album easy to enjoy. This is not a one or two hit sound track. It's ALL good!
5 of 5 people found the following review helpful
on January 16, 2006
I listen to this album on my five-hour drives between home and college. You'd think I'd get tired of the songs, but I don't. The time goes very fast when listening to this album. However, several of the songs make me want to imitate the car chase sequence in the film. So, although this album is truly wonderful, drive carefully while listening to it.