About: Everything or Nothing (Soundtrack)   Sponge Permalink

An Entity of Type : owl:Thing, within Data Space : 134.155.108.49:8890 associated with source dataset(s)

Sean Callery hints at his electro-orchestral tendencies here, but largely stays faithful to the melodies of the original. He waits till the main gameplay sequences to really assert his identity. For example, on "To Arms", he combines the exuberant orchestrations and punchy brass typical of David Arnold, with various percussive elements and electronic distortions typical of his 24 scores. The result has an enormous impact in the game and serves as some of the series' most appealing music on a stand-alone basis too.

AttributesValues
rdfs:label
  • Everything or Nothing (Soundtrack)
rdfs:comment
  • Sean Callery hints at his electro-orchestral tendencies here, but largely stays faithful to the melodies of the original. He waits till the main gameplay sequences to really assert his identity. For example, on "To Arms", he combines the exuberant orchestrations and punchy brass typical of David Arnold, with various percussive elements and electronic distortions typical of his 24 scores. The result has an enormous impact in the game and serves as some of the series' most appealing music on a stand-alone basis too.
dcterms:subject
dbkwik:jamesbond/p...iPageUsesTemplate
abstract
  • Sean Callery hints at his electro-orchestral tendencies here, but largely stays faithful to the melodies of the original. He waits till the main gameplay sequences to really assert his identity. For example, on "To Arms", he combines the exuberant orchestrations and punchy brass typical of David Arnold, with various percussive elements and electronic distortions typical of his 24 scores. The result has an enormous impact in the game and serves as some of the series' most appealing music on a stand-alone basis too. While Everything or Nothing didn't receive a widespread music release, Sean Callery clearly intended the music to stand on its own. From a functional perspective, "Silent Ascension" enhances the infiltration feel of the game's stages with its electro-orchestral ambient soundscaping. However, it is also quite satisfying on a stand-alone level, thanks to Callery's creative use of solo and tutti strings. "Kiss Kiss Fight" is another impressive fusion of orchestral and contemporary elements that brings genuine chaos and intensity to the action sequences. "Freefall" turns the volume up a few notches and proves to be a gigantic action cue. While most of the tracks on the score are electro-orchestral fusions, there is still plenty of diversity within. For example, the fusion of "Tunisia" introduces various Spanish instruments and tonalities, culminating in a fantastic interlude at the 0:42 mark. It's a very entertaining depiction. "Egyptian Descent" further focuses on regional elements — this time Arabian instruments and vocals — but includes the hook of the James Bond theme as well. It comes together surprisingly well. A further highlight is "Restoration", a more cinematic entry that depicts the antagonist in a stereotypical but exciting way with Russian choir.
Alternative Linked Data Views: ODE     Raw Data in: CXML | CSV | RDF ( N-Triples N3/Turtle JSON XML ) | OData ( Atom JSON ) | Microdata ( JSON HTML) | JSON-LD    About   
This material is Open Knowledge   W3C Semantic Web Technology [RDF Data] Valid XHTML + RDFa
OpenLink Virtuoso version 07.20.3217, on Linux (x86_64-pc-linux-gnu), Standard Edition
Data on this page belongs to its respective rights holders.
Virtuoso Faceted Browser Copyright © 2009-2012 OpenLink Software