"The November Man" Soundtrack Lyrics

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"The November Man (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Review

What does a veteran spy sound like when the past won’t stay buried? Marco Beltrami answers with a lean, propulsive score: electronic pulses and sinewy strings, a dry guitar motif that stalks the frame, and Eastern-European percussion colors that nod to the film’s Balkan chessboard. It’s espionage music that keeps moving — always forward, rarely comfortable.

Beltrami favors texture and rhythm over hummable melody, but the album isn’t anonymous. A four-note guitar idea threads through the suspense (“Take Orders”), blooms briefly in romance (“Mason Scores”), then resurfaces, hardened, for the endgame. When the action spikes (“Run From Mason,” “Mason Saves Lucy,” “Reunited”), the writing snaps into focus — cimbalom-tinted ostinatos, drum taps like boot steps, brass that cuts like wire. Around the score sit a handful of needle-drops (Aloe Blacc, Storm Large, Satie) that sketch nightlife, menace, and aftermath.

Genres & themes, in phases: stealth electronics — tradecraft; guitar-led motif — identity and regret; cimbalom pulse — geographic texture; big-drum action — pursuit; alt/club cues — collateral lives at the margins.

How It Was Made

Director Roger Donaldson tapped Marco Beltrami to score this Pierce Brosnan spy vehicle; Varèse Sarabande released the soundtrack on September 9, 2014. Beltrami produced the album with Buck Sanders and folded in regional color (notably cimbalom-like timbres) atop a modern thriller chassis. Additional music support came from Marcus Trumpp, Tyson Lozensky, Dennis Smith, Wlad Marhulets and Xiaotian Shi; the score was recorded by Peter Fuchs and mixed by Lozensky.

Tracks & Scenes

“Take Orders” (Marco Beltrami)

Where it plays:

Early briefings and quiet surveillance. The four-note guitar motif appears over low electronics as Devereaux consents to the “one last job.” Non-diegetic; opening act.

Why it matters:

Introduces the score’s identity thread — weary, precise, and already wary.

“Run From Mason” (Marco Beltrami)

Where it plays:

A foot-and-wheels pursuit through narrow streets after diverging intel puts mentor and protégé on collision course. Percussion jabs and cimbalom ticks drive the tension. Non-diegetic; mid-film chase.

Why it matters:

Prototype Beltrami action: pulse first, then controlled detonation — propulsive and clean.

“Mira Mira on the Wall” (Marco Beltrami)

Where it plays:

Long-form cat-and-mouse as competing versions of the truth surface. Nine minutes of feints: strings coil, electronics hiss, brass strikes. Non-diegetic; late second act.

Why it matters:

The album’s centerpiece — suspense mechanics stretched to the breaking point.

“Reunited” (Marco Beltrami)

Where it plays:

Late rescue turns into grim resolution. Percussive sprint gives way to a cooler, reflective cadence as the smoke clears. Non-diegetic; final reel.

Why it matters:

Shows Beltrami’s balance: adrenalized motion with a human exhale at the end.

“Ticking Bomb” (Aloe Blacc)

Where it plays:

Heard in the film’s soundscape and heavily featured in marketing; the lyric’s fatalism mirrors Devereaux’s no-win calculus. Non-diegetic needle-drop; late-film/credits & trailers.

Why it matters:

A blunt heartbeat of a song — the title becomes thesis: you can’t defuse everything.

“Die This Way” (Storm Large)

Where it plays:

Moody bar/club ambience around an underworld meet. Sultry vocal over Beltrami/Lozensky co-write folds diegetic texture into spycraft. Source-leaning; mid-film nightlife.

Why it matters:

Humanizes the dossier world; the melody smokes while the deal curdles.

“Keep It Up” (Makao)

Where it plays:

Background in a bustling café/club sequence; brief but vivid splash of regional party music as surveillance overlaps with ordinary life. Mostly diegetic.

Why it matters:

World-color cue — the mission happens in someone else’s normal.

“Gnossienne No. 3” (Erik Satie)

Where it plays:

A quiet interior, hush before consequences. The famous Satie meditation contrasts the score’s taut design. Likely source needle-drop.

Why it matters:

Old-world poise in a modern spy tangle — a momentary moral pause.

“End Credits” (Marco Beltrami)

Where it plays:

Rolls after the last standoff. The guitar motif returns, steadier; electronics recede as the coda resolves.

Why it matters:

Beltrami’s button: the spy survives, the rhythm never really stops.

Notes & Trivia

• Beltrami’s four-note guitar idea is the score’s connective tissue; reviews singled it out as the main thematic throughline.
• Additional music contributors include Marcus Trumpp, Tyson Lozensky, Dennis Smith, Wlad Marhulets and Xiaotian Shi; Buck Sanders produced the score album.
• Varèse Sarabande released the soundtrack CD (catalog VSD-7295) on September 9, 2014; the album runs ~61 minutes across 18 cues.
• Non-score songs heard in the film: Aloe Blacc’s “Ticking Bomb,” Storm Large’s “Die This Way,” Makao’s “Keep It Up,” and Satie’s “Gnossienne No. 3.”

Reception & Quotes

Critics called the score effective if conventional for modern spy fare, with highlights in the longer action builds and the regional color in the percussion palette.

“Best in motion — ‘Run From Mason’ and ‘Reunited’ deliver taut, cimbalom-flecked momentum.” Movie Wave (album review)

“Opens with a four-note guitar idea that returns as the score’s spine.” Movie Music UK (album review)

Availability: Digital/streaming and CD via Varèse Sarabande; full 18-track program available on major platforms.

Interesting Facts

• Cimbalom tint: That hammered-dulcimer color helps place the action in the Balkans without caricature.
• Marketing hook: Aloe Blacc’s “Ticking Bomb” doubled as a trailer staple — its title did the thematic heavy lifting.
• Beltrami year: 2014 was busy — this score landed between high-profile projects and shows his chameleonic thriller mode.
• Long cue centerpiece: “Mira Mira on the Wall” (9:26) is the album’s patience play — slow burn to controlled blast.
• Label classic: Another sleek Beltrami/Varèse pairing; collectors prize the clean mastering and crisp percussion detail.

Technical Info

• Title: The November Man (Original Motion Picture Soundtrack)
• Year: 2014
• Type: Film score with select licensed songs
• Composer: Marco Beltrami
• Additional music: Marcus Trumpp; Tyson Lozensky; Dennis Smith; Wlad Marhulets; Xiaotian Shi
• Score producer: Buck Sanders
• Music editors: Chris McGeary; Ron Finn
• Label/album: Varèse Sarabande — VSD-7295 (released Sept 9, 2014); 18 tracks; ~61 minutes
• Selected notable placements: “Take Orders” — mission brief & motif intro; “Run From Mason” — mentor-protégé chase; “Mira Mira on the Wall” — long suspense set-piece; “Reunited” — finale sprint; songs — “Ticking Bomb,” “Die This Way,” “Keep It Up,” “Gnossienne No. 3”

Key Contributors

Entity	Relation
Marco Beltrami	Composer; album co-producer
Buck Sanders	Score/album producer
Marcus Trumpp; Tyson Lozensky; Dennis Smith; Wlad Marhulets; Xiaotian Shi	Additional music
Peter Fuchs	Score recording engineer
Chris McGeary; Ron Finn	Music editors
Varèse Sarabande	Record label — soundtrack release
Roger Donaldson	Director — integrated score & needle-drops
Aloe Blacc; Storm Large; Makao; Erik Satie	Featured non-score recordings in film

Questions & Answers

Who composed the score?

Marco Beltrami, with production by Buck Sanders and additional music from a small team.

What’s the album like?

A 61-minute Varèse Sarabande release (18 tracks) — stealthy electronics, guitar motif, and cimbalom-tinted action.

Are there recognizable songs in the film?

Yes — Aloe Blacc’s “Ticking Bomb,” Storm Large’s “Die This Way,” Makao’s “Keep It Up,” and Satie’s “Gnossienne No. 3.”

Which cues best showcase the score?

“Run From Mason,” “Mira Mira on the Wall,” and “Reunited” — crisp percussion, coiled strings, and forward motion.

Where can I listen?

Streaming platforms carry the full album; the CD (VSD-7295) is widely available via Varèse and retailers.

Sources: Wikipedia (film & music notes); Film Music Reporter (composer & album details); Movie Music UK (review & track list); Movie Wave (review); Discogs (release data); Spotify album page; Marcus Trumpp credits page; trailer uploads.

Though this film is not a part of Bondiane, it looks that way, because it has a half of the actors in this movie franchise: Olga Kurylenko and Pierce Brosnan. The first acted a girl of James Bond with Daniel Craig. And the second acted "Bond, James Bond "(c) in several movies. By the way, he is the best Bond of all times, as we think. What viewer will see in this movie? Confrontation of a master and a student. Handsome man and beautiful woman. Stunning views of the ocean and the sun. Tense storyline. And also will experience the feelings for those of the characters whom he or she will like. Either it will be a master in the face of Pierce Brosnan. Either the student in the face of Luke Bracey. Last is a cross between Michael J. Fox and Mark Wahlberg on the appearance. Handsome fellow and he could win this part of the female audience, which either still in adolescence, or just came out of it. Here on the site officially represented only four songs from the film. But in fact it has 18 + 4 additional +1 trailer’s. The movie was spectacular, but not very well at the box office. Spending USD 15 million on film, total box office amounted to 37. The film has paid off, but with a stretch. At least, not yet received a complete failure, though there was a time it was close to it. First melody in collection, Die This Way, formed by Storm Large – rock singer, who has an angelic appearance, but devilishly attractive voice and dark charm. You should have seen what drive she gives at the concerts! You just hold on! Aloe Blacc performed the second and final non-instrumental melody represented here, titled Ticking Bomb. It is from the category of those who warn humankind against something. Among instrumental ones, Keep It Up (Instrumental) should be noted for greatness.

November, 28th 2025

'The November Man': Movie profile on IMDb, More info on Wikipedia

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