Bourne supremacy soundtrack free dow Continue 2004 soundtrack album by John Powell Supremacy Bourne: Original movie SoundtrackSoundtrack album by John PowellReleasedJuly 27, 2004GenreScoreLength44:20LabelVare SarabandeProducerJohn Bourne Series chronology Bourne identity: Original Movie Soundtrack (2002) Bourne Supremacy: Original Soundtrack to the Film (2004) Bourne Ultimatum: Original Soundtrack to the Film (2007) Professional RatingsRevue RatingsSource:RatingAllmusic It includes a selection of music by composer John Powell and Moby Extreme Ways, which was again better for the final credits of the film, both for Bourne's identity, although the track was removed from the soundtrack to the album of this film release. The song Intothinair by Mocean Worker was shown on the Moscow club scene, but does not appear on the official soundtrack of the film. Track listing Goa – (3:00) The Drop – (3:42) Funeral Pyre – (2:21) Gathering Data – (1:54) Nach Deutschland – (2:40) To the Roof – (5:32) New Memories – (2:48) Berlin Foot Chase – (5:16) Alexander Platz/Abbotts Confesses – (3:34) Moscow Wind Up – (6:54) Bim Bam Smash – (5:09) Atonement – (1:30) Extreme Ways by Moby – (3:56) Credits Music Performed By - The Hollywood Studio Symphony Orchestra Conducted By - Pete Anthony Orchestrations By - Elizabeth Finch, Bruce Fowler, Walter Fowler, Rick Giovinazzo and Yvonne S. Moriarty Additional Music By - John Ashton Thomas Mixed By - Steve Kempster, Dennis S. Sands Edited By - Peter Myles Instrumentation Strings: 33 violins, 14 violas, 14 violoncellos, 10 double basses Woodwinds: 1 bassoon Brass: 6 French horns, 3 trumpets, 4 trombones Live Percussion: 4 players Drums: 3 players 2 guitars 1 Piano Awards won the ASCAP Award and nominated for two World Soundtrack Awards. Inquiries : Monger, James Christopher. Review: Bourne Supremacy (Original soundtrack to the film). It's all a language. Received in 2010-07-26. Bourne Supremacy (John Powell). Movies. 2004-07-27. Received 2012-01-17. Received from 2Ys do not have permission to edit this page, for the following reasons: Your IP address is in a range that has been blocked on all Wikimedia Foundation wikis. The block was made by John Colbert (meta.wikimedia.org). The reason you can say Open Proxy: Open Proxy: Colocation Web Hosting - Contact Stewards if you are hurt. The block starts at 16:53, 15 November 2019. Please include all of the above information in any requests you make. If you think you've been blocked You can find more information and instructions in the global policy No open proxies. Otherwise, to discuss the block, please submit a request for a review to Meta-Wiki or send an email to OTRS stewards in line for [email protected] including all of the above details. You can't edit Wikipedia at this time. 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Accumulated coins can be redeemed on a Hungama subscription. You can also log into Hungama Apps (Music and Movies) with Hungama web credentials and redeem coins to download MP3/MP4 tracks. You must be a registered user to benefit from the Rewards program. Bourne again! Okay, now that I've got Bourne's obligatory pun aside, let's move on to John Powell's exhilarating score. When Bourne Identity was released a couple of years ago, I'll be the first to admit that I didn't even notice the music I was pretty much wrapped up in, that I didn't really notice the heavy theme riding over the movie. In fact, it wasn't until I saw the movie a few times on DVD that I really started to pick up on the very, very subtle way that Powell weaves the theme into the story. It's a fascinating job. For those of you who gave Powell's Bourne Identity score (also available at Varese) more than a cursory listen, you'll be glad to hear that with Bourne's Supremacy, Powell continued his motives more in the ongoing mystery saga of Jason Bourne. While Bourne's personality was a little more action movie, handled expertly by director Doug Liman, Bourne's Supremacy, led by Paul Greengrass, is more of a thriller. While the directors have been altered, someone clever has kept John Powell on as a composer, and Powell's style makes the transition beautifully, keeping the same alternately brooding/frantic mood as the previous film. Powell uses electronics a bit when the action picks up (Berlin Foot Chase), but remains mostly orchestral for dramatic parts (New Memories) to highlight Bourne's inner struggles with the past