Film Music Friday: The Summer Of Spy-Fi

In my last Film Music Friday post, I included a cue from Daniel Pemberton’s rather fantastic score for The Man From U.N.C.L.E. That time, I was using it as an example of a score and a composer that excel at bringing contemporary musical language into the more traditional forms of film music.

But that’s always been typical of the kind of score we’re talking about today. Since Monty Norman’s James Bond theme (as arranged by John Barry) first shot up the screen in 1962, spy scores have always drawn on pop, jazz, and other “modern” forms.

And this summer has seen them come back in a very big way.

Continue reading

Film Music Friday: Matters of Style

Aaaand we’re back.

A few days ago Watertower Music (the soundtrack arm of Warner Bros.) posted a cue from Daniel Pemberton’s new score, for Guy Ritchie’s take on The Man From U.N.C.L.E.. I was already pretty keen to see the film, as I’m a sucker for old-fashioned spy-fi, and listening to “His Name Is Napoleon Solo” pretty much sealed the deal for me:

(Side note: I’m really digging the embed code Soundcloud uses. Doesn’t it just look cool?)

Continue reading