From the opening track of 'Goa' you realise that this soundtrack has plenty of new themes to offer. Of these there are moments when some of the more familiar themes of the first soundtrack - Jason's Theme, Treadstone Assassins, On Bridge No. 9 - are offered as a layer of sound on top of or bounced around between the new themes.
'Goa' itself does remind you of running along a beach somewhere (much like Jason) though it has a wistfulness mixed through it - and a soft variation of the theme heard in 'At The Hairdressers' of the first film.
'The Drop' is reminiscent of the 'Opening Titles Theme' of the first. While 'Funeral Pyre' is a somewhat pared down and reminiscent of 'Goa' but only slightly, as it ultimately goes in a softer and then more distressed direction.
'Gathering Data' is another great one that's mainly a variation on a theme; the Bourne sound bouncing around an electronic pulse while beats skitter over the surface just outside of the strings.
'Nach Deutschland' is 'Bourne Gets Well' crossed with 'At The Hairdressers' but riffed in another direction and beefed up, with the strings and electronica building to a tense plateau.
There's definitely more of a darkness and melancholy on this soundtrack than before, as you can hear on 'To The Roof' with all of the reassuring Bourne themes in evidence but somehow with less comfort. It's hide and seek but with more of a purpose behind it. And a very subtle Russian edge. (I don't know how else to describe it.)
'Alexander Platz/Abbotts Confesses' is a cat and mouse game with more percussion and an new expanded direction. Rising and resting with beats in between, it has a certain impending doom.
'Moscow Wind Up' is all Bourne and brooding before changing direction near the end and opening into what sounds like ethnic beats with strong cello stabs blossoming into an eastern-sounding overdrive.
'Bim Bam Smash' in particular is another excellent new direction - yet not so new that it's alien to the already established themes. The inclusion of a drum track and something that sounds like a Russian sub-electronica, pub band trying to do a spy theme is great fun - especially when in the middle of it's chase climax the Treadstone Assassins theme rolls in. Lots of tension here and a real joy to listen to. (Have yourself a mini-rave!)
The last track 'Atonement' is absolutely beautiful and heartbreaking. Soft and lush it sounds like a snowstorm slowly breaking, and suffers only from the fact that it doesn't last long enough. (I would have preferred it to be twice as long with the Moby track excluded, and on that note...)
My only complaint is that I could have done without Moby's presence at the end. It does tend to jar (though not too alarmingly) with the other sounds - which isn't so great if you're listening to the CD on repeat or back to back with 'The Bourne Identity'. Just skip it, unless you're a big fan of Moby - in which case, you might welcome rather than resent the intrusion this track provides.
Overall this album has all the thrill of The Bourne Identity with a new bittersweetness and Easternliness (India and Russia) mixed in (see the film and you'll understand that particular context). It also seems more organic sounding and less MIDI-fied than the last which is welcome.
Great if it's your first Bourne soundtrack but still rewarding for those who own the first album (as I did). A recommended buy for anyone who likes electronica or classical with a strong percussive element.
I'll be all on board for the third film and the soundtrack that'll come kicking in with it if it's the same and more from John Powell.
