The singer follows Sam Smith, Adele, Jack White with Alicia Keys and Chris Cornell in providing the music for Daniel Craig’s spell playing 007.
Securing the services of Eilish and her co-writing brother Finneas O’Connell was a smart move from the filmmakers, especially when today’s premier femme fatale, Lana Del Rey, would have been the obvious choice. Eilish is the hottest singer right now after winning five Grammys last month, having put a creepy spin on electronic pop music with her macabre lyrics and whisper-in-your-ear vocals.
At 18, she’s the youngest person to sing a Bond theme but that doesn’t mean she breaks the rules with teenage recklessness. A Bond film, and accordingly its music, is like your wedding: you want it to feel unique but at the same time there about 200 conventions to which you are handcuffed.
So that means there’s no sign of her clever synth concoctions and indeed not much evidence of Johnny Marr, who’s apparently in there somewhere on guitar. Instead the sound is dominated by luxurious washes of strings from composer Hans Zimmer. Eilish’s sad, understated vocals suit the sound, which is less overblown than usual. “Fool me once, fool me twice/Are you death or paradise?”
Having generally given the impression that it’s uncool to put any effort in, she hits a surprising big note near the close but then it’s back to the softly-softly approach.
The film itself is unlikely to be so subtle. Though Bond himself may look increasingly anachronistic, musically, this time he has his finger on the pulse.