situs judi online

The online gambling is currently becoming famous

You may even work for 24 * 7 hours a day but also you cannot able to earn a lot at a same time but  when you are linked yourself in playing situs judi online then sure you can able to settle in your life. It is because it is the only place where you get paid for even playing your favorite soccer games along with your friends.

  • Immediately when you register you name in this site your account would be credited up with 5 to 25% bonus.
  • It is necessary for you to deposit a sum of money when you start playing but for watching live matches you don’t want to spend.
  • Even you can utilize the live chart that is available over there.
  • It is the best place where you can able to get your own new set of friends.

How can you win the game?

When you started to play in situs judi online terpercaya then you are the master of your own happiness. Here are the few tips that you can make use of it to divert the success towards your side.

  • When you started to play you must concentrate only on games.
  • The each move must be carefully watched out minutely.
  • If you find your success then doesn’t stop just go ahead?
  • Even through this one can able to develop and learn a lot practically.

It is well and good when you start your bet from low level so that you can able to learn a lot even when you cannot able to win in first match. Note down all your drawbacks in the game and try to hit the goal in the second round. The choice is yours only you have to decide how to make use of different strategies inside the game to rock.


tangkas Asia

The popularity of online slot machines in Indonesia

Indonesia is definitely one of the largest countries in tangkas Asia with a good population connected with around 240 million, your fourth most populous country in the world and is primarily Muslim. No wonder gambling activities generally there are forbidden or unlawful which is why the betting industry there’s not blossomed. In addition, its government imposes a new tight regime credited to its strong faithfulness to its religion and that is Islam that teaches it is worshippers to prohibit casino and drinking alcohol.

While virtually the entire Asian continent recently had an increase connected with growth with regard to gambling amusement, Dalam negri is utterly going the particular opposite direction purposely. Quite a few reports from betting industry experts say the gambling industry in the Asian prude is currently worth more when compared with $80-billion dollars and may possibly rise even bigger throughout the coming years. Nevertheless the cultural and religious viewpoint in Indonesia determines typically the strict policy in that type of industry.

Nowadays, casinos and other forms of gaming in Dalam negeri are totally illegal; therefore there are no casinos managing right now there, no betting facilities in addition to any bingo halls that exist in virtually any corner regarding the country. On the other hand, at this time there is a small-time state-run lotto but it’s some sort of thing in yesteryear these days as vast majority of its population protests against the idea.

Remarkably, regardless of the nationwide ban on gambling actions, Indonesians who love the enjoyment of gambling still locate a good way to precede their exclusive recreation via the particular internet which the federal government has no total manager of the idea despite virtually any strict steps it imposes.

Under the popular, Indonesians are able to set up online casino sites the fact that specializes on developing application specifically designed to get easy casino games want on the internet slot machines which will be much easier and technical in comparison to various other online on line casino games.

If you Google this, you can see various sites which might be in Indonesian language as well which have a great deal of resemblances as just what we see inside mainstream on the internet casino web-sites, and even what makes it a lot more incredible is that quite a few Indonesians patronize its game titles, particularly the online slot piece of equipment games.

There, you can get diverse online slot machine game titles that have different thrilling and entertaining themes and functions that they cannot play in their country. Intended for quite a few Indonesians who really like to gamble, on the net internet casinos is their sanctuary for you to enjoy themselves within their betting habits.

Online slot machine game games in Indonesia are really favorite but still operating underneath the detector to hide by the authorities and prevent any apprehension. The quantity of gamers enjoying this game, according to gambling experts!…


sbobet Most Trusted and Biggest Online Casino Gambling Agent

Online gambling world has developed rapidly. Many betting technologies need sprung up which have manufactured human life easier. Sub sanitation of the development of sbobet baseball gambling technological innovation is that connection turns into easier because of the existence of gambling websites on the internet.

The use of the online today has been maximized and one involving the results will be on-line gambling. Today there are generally several online gambling web sites that have sprung upward in cyberspace and offer a variety of pleasing products.

However for individuals of you who usually are on the web wagering lovers, regarding course you have in order to be watchful when picking which online gambling web site to place a gamble with. Because, not just about all on the net gambling sites the fact that present a fair game plus give money to you personally fully win.

Therefore, it has an online gambling site that is usually much recommended and comes with come to be an official and dependable online gambling system. Often the online gambling site under consideration is sbobet.

Sbobet can be an online gambling website established in the particular Indonesia and even has been recently operating worldwide. That is because sbobet provides received a certificate from Initial Cagayan in addition to the Isle regarding Male Government as a world-wide bet maker.

All kinds connected with gambling exercises and transactions in this are certain security and are accounted intended for. Because of this assurance sbobets already has plenty of millions connected with lively members scattered coming from a variety of parts of the globe.

The Advantages of Joining Member within casino sbobet on the net Gambling

Generally there are quite a few reasons exactly why you should join as being a participant and start taking pleasure in gamble on sbobet. One of them is basically because in sbobet there are quite a few different types of wagers and games that could be played without restrictions. Anyone can play that 24 hours non-stop.

Most gamble and games could be as well as the tiniest nominal bets. Every single new member will be welcomed very well and still given great and excellent service.

The users can certainly access it through mobile phones, pcs, as well as laptops which obviously now have to be connected to help the internet.

The size of each associated with these software tends to help be small so that will not take up a great deal space with your device’s storage space. The application will also not burden the performance associated with the device you are applying.…


Enjoy Your Vacations With Singapore Online Casino Games

Spending weekend breaks by commemorating time with family members or checking out various locations is a typical point that individuals usually like to take pleasure in. However, preparing for vacations indicates you require some even more time than weekend break. Singapore lacks any type of question the very best location where you can appreciate modern visitor areas as well as destinations as well as invest free time in one of the most remarkable and remarkable methods. Nightlife in Singapore is likewise dynamic and also usually tempts individuals from throughout the globe to appreciate what specifically they are trying to find. To a fantastic degree, Singapore genuine cash casino site video games are including additional zing to nightlife as well as enticing video gaming fanatics from throughout the globe. Singapore is getting energy every day for its actual cash casino site video games that are played in casino sites and also to a wonderful degree online.

You can play your favorite video games of cards, American Roulette boards as well as various kinds of various other ready even more genuine cash money, prize and also to obtain understanding 토토사이트. The interesting point is that Singapore’s online casino site video games are supplying a much better choice of casino site areas that you can play from the convenience of residence. There are numerous popular gaming websites like 4D Betting websites in Singapore that are providing you a range of gaming and also wagering alternatives in addition to casino site video games. There are different prominent websites like 4D Betting Sites in Singapore, Evo Suite, HG Suite, EZugi Suite as well as numerous others where you can attempt your hands for casino site video games and also take pleasure in something a lot more. Here, you can have fun with on the internet gamers or genuine gamers via competitions as well as in various other methods.

Starting your video games is much less complicated as you need to develop your account or account, obtain the chips or accessibility and also begin playing according to your selection. You will certainly obtain actual money, reward and also a range of included advantages that will certainly encourage you to invest even more time below피나클. You can additionally discover the most effective system for prominent real-time casino sites in Singapore. You will certainly obtain even more experience and also find out brand-new methods from expert gamers. If you are searching for the most effective online casino site video games from the leading websites, you will certainly obtain the name of Maxim99 begins the top. Being just one of the ideal casino site pc gaming websites, Maxim99 is the ideal online enjoyment brand name offering you a range of casino site video gaming items.

Relying on your selection, you can obtain from perks to the pot and also from 4D wagering to accessibility to prominent real-time casino sites in Singapore, you have an opportunity to obtain something greater than what you have actually anticipated. There is a great deal extra that you will certainly receive from below. Here, far better techniques, total individual overview, help in playing with actual gamers, etc are a few of the most effective choices that will certainly be useful in making your casino site video games much more enjoyable and also enjoyable.…

casino online

Why need to choose bandarqq365 for online poker, dominoqq and bandarq?

Today, many websites are offering the best gaming experience to the players of Bandarq. In order to become a champion, first of all, you have to find the right site and enjoy your playing in Indonesia. Once you join in a reliable site, you will attain numerous benefits and also become a member by simply registering on this site. In order to do registration, initially, you have to open the site and then click on register tab. Once the register page will open, you have to fill up the details in the appropriate fields and then create a bandarq account. After creating an account, you have to make a minimum deposit of 25 thousands as an initial deposit in betting playing. Presently, one of the best sites to enjoy bandarq is bandarqq365 that provides numerous games to play such as poker, dominoqq, bandarq and online poker and so on. They also ensure 100% fair play and also trusted the players in all over Indonesia.

If you are a beginner, you can simply choose the right casino online site that offers a service, which really helps you cover on 24/7. Actually, this online site is not only offering the satisfying services, but also provides bonuses and matches as well. This is why; increasing numbers of players are coming to this site regularly. Another benefit of getting into this site is simple to win the matches due to the presence of bot system. If you have knowledge and understand the gaming strategy, it is easy to have a chance to defeat your opponent. Before playing with bot, you just try to compare it with others and then you start playing a game. You can also be sure to get it with the bandarqq365 city site city poker diminoqq adu q poker online and then use a server with top quality and reliable.




Flesh and Bone

Eerie, dissonant, double stops in the strings begin to the closing credits of Flesh and Bone, a score written by Breaking Bad and Blacklist composer Dave Porter. Building upon a motif of scalic patterns, the mystery of STARZ’s new show is echoed throughout the running time of Porter’s unnerving score.

Flesh and Bone details the gritty underworld of professional ballet, following a young dancer, Claire as she joins a prestigious New York City ballet company, and becomes entangled within the allure and darkness of the ballet world. Claire’s self-destructive tendencies amidst her vaulting ambitions drive her in compelling and unforeseeable ways, especially when confronted with the machinations of the company’s mercurial Artistic Director and an unwelcome visitor from her past.

Stretching out the tension through increasing volume and accumulation of instruments, it sees the first track of ‘Meet Claire’ emerge accompanied by a percussive pulse that drives the suspense of this gritty thriller. An orchestra tuning at the end of the track creates an introductory to the performative nature of the TV series. It is very much led by deep cello lyrical melodies, which drones and penetrates with richness, creating a classical orchestral sound alongside Porter’s modern take – reflecting both the dysfunction and glamour of professional ballet.

And whilst Porter’s intentions to retain the basics of orchestral instruments captures the essence of this classic dance, he embraces its atmospheric qualities – allowing sounds to reverberate and take a darker turn. This differing exoticness is heard in ‘Strip Club Sights’, where the electronic resonance creates a spine-chilling emptiness, further exemplified by the sparseness of the piano in ‘Walk of Pain’. A high-pitched dissonance interrupts this seemingly peaceful yet spare chordal progression, fabricating a much more complex and almost perturbed tone – cumulated in one of the most dissonant pieces ‘Glass Slippers’.

Porter’s amalgamation of electronic and classical instruments ensures his score remains distorted and mystifying, encompassing convoluted and tangled layers. For a television score, Porter doesn’t step back and truly impresses – charging this drama with discordant energy and an enigmatic tone. -DZ

Flesh and Bone is out now from Varese Sarabande


The Interview: Tom Holkenborg/Junkie XL (Deadpool)

After last year’s stunning score for Mad Max: Fury Road, Junkie XL should need no introduction. The Dutch-born composer and musician, born Tom Holkenborg, went from a figure best known outside the dance music world for a remix of Elvis Presley’s “A Little Less Conversation” into a genuine force with which to be reckoned. Holkenborg’s work in film music has always been impressive, but his first full score absolutely left jaws dropped across the world. Now, there are two Junkie XL scores on the way, both for superhero films. First up is Milan’s release of Deadpool on March 4, followed by the Junkie XL / Hans Zimmer collaborative score to Batman v Superman: Dawn of Justice from WaterTower Music on March 25. Nick Spacek was lucky enough to speak with Holkenborg by phone about Deadpool and its fantastically genre-hopping score.

Nick Spacek: It seems that you have two very big movies coming up in the next few months.

Tom Holkenborg: In the next few weeks!

NS: I haven’t gotten a chance to hear the Batman v Superman score yet, but I’m rather impressed with the breadth and width of what you did for Deadpool. What was the baseline from which you were operating for that score?

TH: When I saw the film for the first time, not only did I have pain in my stomach of laughing all the way through – when you see for the first time, it’s hilarious – it was clear to me that you needed so many different types of music. There’s Wade, who’s a funny character throughout the movie, then transforms into Deadpool. He falls in love with this woman, then finds out he has cancer. He’s uncurable. Then, he becomes Deadpool – completely different character, somewhat based on the characteristics Wade already had, but then times a hundred. Then, we have Ajax, who went through the same process, but he’s a serious villain: very military, precise, goes straight to his goal. Then, we have these X-Men characters and we have all these crazy fights in the movie, so the music needed to go from almost a dark version of comedy / satire to extreme action music to emotional music to very dark sound design. So, I needed to go through all these different emotions and pallets to glue it all together. I have to say: it was pretty hard to do, because I’ve never worked on a movie where I had switch within five seconds between all these different emotions.

NS: I was noticing the stylistic switches, especially on something like ‘Liam Neeson Nightmares,’ where it goes – like you said – within five seconds from warbly synths to these very emotional strings. I was wondering, were you trying to complement the mentality and switch between Wade and Deadpool?

TH: Yeah, it was important, and in that particular scene, Wade isn’t Deadpool yet. He comes out of this very troublesome conversation with a doctor that tells him he has this uncurable cancer. We see him sitting in a chair, just collecting his thoughts, and at some point, he starts crying a little bit. In the beginning of that scene, he feels shocked. He’s not sad, but he feels shocked. He’s just thinking in his head, ‘How am I going to deal with this?’ So, that turns into an emotional piece, where his girlfriend starts talking to him, saying, ‘Hey, we can figure this out,’ then it goes into a section where he makes the decision to basically walk away from her, because he doesn’t want her to be there when he dies. It then goes into the next section where he decides to do this military program that can take care of the cancer, not knowing what to expect after that, and then he actually goes to that facility. It’s like five different things within one minute.

NS: Given the prevalence and emphasis on Salt-n-Pepa’s ‘Shoop’ and DMX’s ‘X Gon Give It To Ya’ in the marketing and promotion of Deadpool, I was wondering on how well you were aware of the various songs on the soundtrack, and whether you were trying to work that music into the score you made?

TH: You’re hitting the nail on the head. All the licensed music in the film was pretty much sorted when I started writing for the film, and so it meant that the score very much needed to have a tone, at least with Deadpool, that was connected to all these songs. Deadpool is a guy who basically stopped growing up after 1990. In the movie, he carries around a Walkman – he’s very much from the ’80s. That led me to the period that Deadpool’s music is very much rooted in, which is the ’80s. I dug up all my old synths and computers to recreate that sound, because I knew what these licensed tracks were, and it blended in really really nicely.

NS: It definitely shows through on that first cut, ‘Maximum Effort,’ especially with that – is that a Synclavier you’ve got going on there?

TH: To get a little technical on the instrument side, the synthesizer used is an Oberheim OB-Xa, which was made in the ’70s and made famous by Van Halen in the ’80s with ‘Jump.’ Another one I used is the Roland Jupiter 8 – also, famous early ’80s synthesizer. The other synthesizer I used is a DX5, which was an experimental FM synthesis model that came out in the early ’80s and was later followed by the very popular DX7. The DX5 was used a lot by Jan Hammer in Miami Vice, so it has that really typical metallic, clunky sound. The Synclavier I don’t own, myself, because there are only a few working units, worldwide. It’s very expensive to maintain and the same goes for the Fairlight sample systems. Now, I did approach a guy working in London who had a perfect working synclavier with all the original preset sounds, and he went to the trouble to sample them for me. And, you know, preset number four or five, when it originally came out is that typical ‘Beat It’ sound from Michael Jackson, and I always wanted to use that sound for something. Thank god for Deadpool: I was able to use it and now I can throw that sound away. I can never use it again for the rest of my laugh. [laughs] But, it’s the perfect sound for that, and the reference with ‘Beat It’ is just too funny.

NS: I also enjoy the fact that it pops up here and there throughout the score, rather than just being used that one time.

TH: Yeah, you know, if we talk from a thematic point of view – and you will see, when you see the film – the cutting is so fast, the switching between characters is so fast, I barely had time just to play the first four notes of that riff, and that would be it.

NS: You alluded earlier to the fact that you were trying to include elements of comedy in the Deadpool score. Is that where that elastic, rubberband bass sound in “12 Bullets” or “Watership Down” comes from?

TH: You know what’s really funny about the musical quotes from the ’80s? Whether it’s Miami Vice, Frankie Goes to Hollywood, Art of Noise, obviously Giorgio Moroder – even earlier music like ELO – at the time, when that music came out, it was so serious. They took themselves so serious, which is one of the most beautiful things about the ’80s. I grew up and matured in the ’80s, as a musician. I’m 47, so I started playing in bands from 1979, 1980. I was 13 when it was 1980, and was 23 when the ’80s were over. When Miami Vice got aired, it was so exciting: it was dark, it was serious, it was cool music, and it was the coolest thing on the planet. Now, if we watch that same episode, break out the Coke and the popcorn and we’re going to laugh for an hour straight! It’s so funny when you see it back. So, the intention that I wanted to achieve with the music for Deadpool is not to create funny music, but to create music that in its origin, was very serious, but if you play it against Deadpool, it becomes so incredibly funny and it works so well with his character. It’s a very fine line to walk with a movie like this, and the picture editor on this movie, Julian Clark, he used those words: ‘The trick is going to be that we make music that makes Deadpool fun, but not funny.’

NS: I think that’s a very important distinction to make, especially for that character.

TH: Yeah, because then otherwise, it turns into a comedy score like you would make for a Ben Stiller movie, and that’s not what we wanted to do. We wanted to honor the character.

NS: How is it switching gears between something so serious as a Black Mass or Batman v Superman, and then going to something like Deadpool?

TH: It’s quite a transition, I can tell you that. [laughs] You need time to roll into these movies. When I came off Mad Max and started working on Black Mass, it’s the same thing: okay, no drums this movie. No hardcore electronic bass lines. This is all about the subtlety of film scoring. You just need to grow into it, slowly, just by spending days and days in the studio playing your piano and doing something. With Deadpool, it was exactly the other thing: now, I”m done with Black Mass and it’s all very serious, and now we’re going to go into a movie that is all about action, bits of drama, and we need to find music for Deadpool. So, I hooked up all my synthesizers in the studio and played for weeks on end.

NS: After weeks of doing that, you’re completely in the groove for what it needs to be, and it starts rolling.

TH: You always need a transition time to move into something new.

Deadpool is in theaters now, with the soundtrack available now digitally through most major retailers. It comes out on compact disc through Milan Records on March 4.

Thanks to Tom Holkenborg and Costa Communications


Sodium Party

I’ll be honest, I didn’t know what to think of Steve Nolan’s score to Sodium Party. Sent to me on tape (yes!), my previous experience tells me that there are a lot of people who want to be John Carpenter. This isn’t necessarily a bad thing, but variety is a necessity, and it’s more and more difficult to stand out when everyone is doing the same thing (see also Hollywood action scoring).

This is why I was overjoyed when I hit play on Sodium Party. What hit me wasn’t a driving synth but sparse piano notes, emotionally strained. When the synth tones came in, they were in the background, foreboding, textural. The album continues with the delicate piano, giving it a fragile and haunting vibe from which to spin off into some wonderful melodies, such as the warm ‘Wondermental’ and the propulsive ‘The Walking Day’.

But it also spins off into darker areas, and there are elements that are dissonant and disquieting, such as the static-esque ‘The Cold Trap’. And while that is instantly followed by the ethereal beauty of ‘Party Bench’, even more threatening and uncomfortable. These shifts help underline the journey of the score, and it stands out as a musical narrative away from the original context of the film.

I’d be lying if I said Sodium Party was an easy listen – it’s not, but that’s just what makes it great. It’s uncomfortable at times and emotionally wrought, but it’s also beautiful and affecting, and that itself makes it an exceptionally rewarding listen. -CB

Sodium Party is available now from Spun Out Of Control


Gods of Egypt

Gods of Egypt is the latest film from Australian director Alex Proyas (of Dark City fame). It is a classic fantasy epic based around Egyptian mythology, very much in the Clash of the Titans tradition, in which a mortal hero Bek (Brenton Thwaites) squares off against god of darkness Set (Gerard Butler) and tries to save the world… and his love Zaya (Courtney Eaton)… You know, that sort of thing. The film will open in April and seems to attract no interest whatsoever from general public, if we are to believe early box office predictions. It is already famous, however, for its racial casting controversies. Why would anyone even bother to bring this up in this particular case is beyond me, seems like the film is hardly worth it. In any case, we shall find out how it does soon enough.

Marco Beltrami continues his collaboration with Proyas and Gods of Egypt is their third project together (after 2004’s I, Robot and 2009’s Knowing). The composer, once famous for his numerous horror scores, decided to branch out considerably in recent years, creating an eclectic body of work for both big blockbusters (World War Z, The Wolverine) as well as small personal dramas (The Homesman, The Drop). His latest work harkens back to the more traditional orchestral sound he’s been developing years ago for films like Knowing or Hellboy, and recently revisited in Seventh Son. And it is indeed a welcome return to form.

Gods of Egypt is probably a more traditional score than Seventh Son. Beltrami stated how he would watch films like Raiders of the Lost Ark, Lawrence of Arabia while prepping. Indeed, several elements and colours seem to recall those classics. Another obvious influence seems to be composer’s old mentor Jerry Goldsmith and his The Mummy from 1999. The main theme appearing in ‘Gods of Egypt Prologue’ brings back the romantic idea of Ancient Egypt as conveyed in Stephen Sommer’s two films. While it doesn’t appear that often throughout the album, its appearances are always welcome and enjoyable. Of particular note is the spectacular final statement in ‘God of the Impossible’.

Composer created other notable themes for Gods of Egypt. The most prominent one is a love theme first heard in brief track ‘Bek and Zaya’. Its more delicate and romantic woodwind statements (beautifully showcased in the ‘Bek and Zaya’s Theme’ concert suite) this melody seems to suggest Beltrami was inspired by Alex North’s classic theme from Stanley Kubrick’s Spartacus. It evokes the same sort of timeless quality  while feeling appropriate to its ancient setting. The melody tends to be hinted at in the more suspenseful material (‘Chaos’) and receives its redemptive touching final appearance in ‘God of the Impossible’ finale track. Hathor (played by Elodie Yung in the film) gets her own haunting theme which is best represented on the album’s final track.

What’s interesting, the two opposing godly forces of Set and Horus and  are represented by simple but effective thematic ideas. The hero’s theme is developed  and pronounced most fully in the wondrous ‘Wings and a Prayer’, It is a fairly brief ascending motif that is frequently stated on trumpets. The villain is offered a somewhat more generic descending motif (‘Red Army’). Towards the end of the film, they literally clash in a battle. In ‘Obelisk Fight Part 1’, forces of darkness seem to overwhelm heroic theme with massive percussive forces and choral chanting. It does, however, reclaim its power in the following track (‘Obelisk Fight Part 2’) and manages to win the day. Quite a rare clarity in storytelling to be found in a modern blockbuster score.

The score is full of percussive writing, displayed most audibly in tracks like ‘Coronation’ and ‘Red Army’. In the latter piece, Beltrami also uses a strange and eerie amalgam of vocals and electronic effects to sell Set’s villainous nature. The lighthearted uses of rhythmic sections can be found in several enjoyable action pieces (‘Market Chase’, ‘Snakes on a Plain’). Beltrami makes a really cool use of brass all the way throughout Gods of Egypt and it has an unique quality of feeling both old and modern (‘Set vs Horus’). Finally, there’s an obligatory appearance of duduk in ‘Hathor’s Bedroom’, accompanied by lovely string writing. The chorus is ever-present, either chanting forcefully or simply offering a lovely mystical backing for orchestral writing. Apart from the group ensemble, the composer also uses three vocal soloists (Asdru Serra, Angela Little and Sussan Deyhim) and their performances can be heard primarily in ‘Channeling Zaya’ and ‘Hathor’s Theme’.

While not earth-shattering nor terribly original, Gods of Egypt score is probably the most easily enjoyable Marco Beltrami album in many years. Certainly a more well-rounded and memorable than Seventh Son. It has a certain quality of merging modern sensibilities with adorable callbacks to film music’s glorious Golden and Silver Age classics. The strong thematic base helps a great deal when listening to this this generous 74-minute album. It is consistently interesting and offers one of 2016’s first real highlights.

-Karol Krok

Gods of Egypt will be released by Varese Sarabande next month


Six of the Best… Non-Barry Bonds

The post-Connery era of James Bond began with a bang courtesy of a certain Beatle and his uber-producer. Live and Let Die is famous for the title track by Paul McCartney, but the excellent score was composed and arranged by the fab four’s producer, George Martin. Martin took on the assignment with relish, giving a great blaxploitation feel to the score while retaining the classical Barry strings. His interpolation of the McCartney theme is to die for, and his theme for Jane Seymour’s Solitaire is one of the best of the series. It’s a shame Connery’s Bond didn’t like the Beatles – what a square.

The Spy Who Loved Me (1977)
Disco is a dirty word to most film score fans, but it’s hard to deny just how cool ‘Bond 77’ – Marvin Hamlisch’s arrangement of the Bond theme for The Spy Who Loved Me – is. Despite only being used in a couple of sequences, it’s usually the reason for fans’ rejection of the score, but they don’t know what they’re missing – from the dreamy ‘Ride To Atlantis’ to the gorgeous renditions of ‘Nobody Does It Better’ to the jagged action of the Lotus chase, Hamlisch’s score is a joy at times. Sadly, the album is limited to source music and album arrangements and as such is not at all representative of the actual score.

Licence To Kill (1989)
Far from the outlandish volcano lairs and space-based hijinks of previous villains, Licence To Kill was a hard-edged revenge thriller that took its story from the tales of the Latin American drug cartels. Now occupying the same space as movies like Lethal Weapon and Die Hard, it’s not surprising that Michael Kamen was brought on board to bring 007 down to earth. While an attempt to create a new riff on the Bond theme with Eric Clapton was aborted, Kamen still brought his trademark mix of orchestra and guitars, allowing the film a serious edge but with all of the swagger that JB demands.

Tomorrow Never Dies (1997)
David Arnold came on the scene for Pierce Brosnan’s second Bond adventure, 1997’s Tomorrow Never Dies, and immediately showed everyone why he was seen as the heir apparent to John Barry. Arnold’s talent was instantly displayed with the gunbarrel cue, presenting all the classic elements with extreme precision and confidence, and followed with the astounding action cue ‘White Knight’. Arnold brought a mix of orchestral and electronic elements in for the film, although never allowing the latter to overwhelm the former as can happen with some composers. While the film isn’t brilliant, Arnold’s score was reason alone why he was kept on for the next four films.

Casino Royale (2006)
Probably Arnold’s greatest score came as a new Bond arrived on the scene. With Daniel Craig and pseudo-reboot Casino Royale, Bond was blunt, brutal, and uncompromising. Gone were the multiple Bond theme quotes, replaced by hints of the melody along with the title track ‘You Know My Name’, which built up while Bond was still becoming Bond. The action cues are incredible, with ‘African Rundown’ a fantastic piece tracking Bond chasing a building-hopping terrorist, but the centrepiece is the stunning ‘Miami International’. Arnold composed a classic theme for Bond and doomed lover Vesper (‘City of Lovers’), but the entire score builds up to the finale, where 007 finally steps into his shoes, accompanied by a classically huge rendition of
the James Bond theme. Cue cheering.…