Owe, yes I’d say that’s what I hear. But I’m also positive I hear ‘how you dare the paradise’. Either that or it’s my tinnitus interfering…
i dont hear a hard T sound, its definitely a TH/F - so its death
But is she singing ‘or’ there? In the second version I hear the line ‘death or paradise’ - in the first I hear ‘dare the paradise’; I really think these are two different versions, no?
I’ve only heard the full song once, but this interpretation makes the most sense.
It’s leaps and bounds ahead of the Sam Smith rubbish we were served up 5 years ago.
Far better than I’d hoped, haunting and heartfelt. For Your Eyes Only-esque.
It’s given me more of an idea of what the tone of the film will be like. Dark, dark stuff…
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sound the same to me - though obv the second video is not from an official source so it could have been edited but they all sound the same to me in these videos and iTunes recording in headphones - also, i dont know “how you dare the paradise” really makes much sense in context? she’s betraying him - she’s not putting their paradise at risk, she’s blowing it up - it wouldn’t overly fit with the theme of the song and reads a bit clunky lyrically to me
Somebody will have to ask Eilish…
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I do love how it builds - I also love how it is blatantly from Bond to Madeline.
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I waited for last night and then, when it appeared online I decided to wait until morning, afraid the hook would stick in head and keep me awake. I need ent have worried.
For me, it starts really well - the melody and effects are perfect. The Momentary GF-esque trombone is great (got a feeling that’s Zimmers input).
It builds pretty well to the chorus, but never really takes off. There’s no hook! As much as I hate Smith’s performance on TWOTW the hook (sans Smith) is great.
I think this track compliments what we know of the story very well and will make for good, if not great titles. It sets up a tragedy, rather than a thriller and in CJFs gifted hands in ok with that.
It doesn’t strike me as a song that will live on after the movie, as most Bond themes do, but what do I know?
EDIT: apols for the strange alliterations, darned auto correct while typing in the London rush hour train to tube scramble 
Won’t pretend I’m not a bit disappointed. I feel like the only thing making this is the orchestra. What is it with artists these days denying us the emotional outpouring that comes from a strong chorus? Has the very concept become cheesy? At the moment (and this might change as I listen more) I tend to agree with @odd_jobbies that it never really takes off. Mind, I remember thinking the same after listening to Skyfall. In retrospect and by comparison, that one did at least have a chorus, but it didn’t quite live up to what it was promising. Anyway. It’s not a disaster, I’m sure this’ll work better with the titles and I’m sure I’ll enjoy the film. So no big deal.
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New interview with Eilish about the song - first iteration written in 3 days after getting presumably the pre-titles/Matera part of the script
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I suspect it fits rather good into the theme of the film itself. I wonder if a more aggressive, catchier upbeat tune would fit as good - probably not.
Well that’s 144 times longer than TWOTW took to write.
But still, seems like a pretty fast turnaround. This bash it out quick approach seems to be becoming a badge of honour for bond themes.
IMO quite bland and forgettable like Sam Smith’s theme
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Great songs can be and were written fast - so I don’t mind that.
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Indeed they have been, just not this (or the last) time imho.
I think it’s ok — farrrr better than TWOTW (which smiths falsetto made unbearable).
This one seems very suitable for the story, but good bond themes transcend ‘suitable for the story’.
It starts very well, but runs out of ideas. I don’t see this one getting any repeat play by the summer - it’s just not a keeper.
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And as Eilish says in the interview - that’s just the first iteration after getting the brief and part of the script from Barbara - then there was a lot of work to get to the version that dropped.
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