Purists of British cult TV look away, that`s if you`ve not seen the trailer already- ITV`s hugely popular 70`s crime series `The Sweeney` has been resurrected for 2012 by the highly rated Nick Love, the director behind the very British `The Football Factory` and `The Firm`. The inclusion of Ray Winstone as the straight talking Detective Inspector Jack Regan with Ben Drew (aka Plan B) as Detective Sergeant George Carter does give the overall idea lashings of big screen appeal and cinematic credibility. Anyway, I don`t do movie reviews, let`s skip to Lornes Balfe`s beautifully elegant film score, a notionally moody and intense collection of edgy strings and current production styles – Keeping a listener engaged to an action storyline whilst not necessarily watching the movie is a massive audio challenge, mixing the synthetic rhythms of Dubstep DJ`s (Magnetic Man) with Johnny Marr`s eccentric guitar style lifts the album well beyond your regular artists `best of` compilation soundtrack.
Photo Credit Carl Lyttle
Johnny Marr said “I knew the original Sweeney theme from being a kid so it was interesting to play it on the guitar. The new version has a lot of tension and is quite menacing, which seemed to be the right approach.” Marr’s involvement came from an invitation from Grammy Award winning Scottish film composer Lorne Balfe, who having worked with Johnny on the music for Christopher Nolan’s movie ‘Inception’ in 2010, made an approach. The soundtrack, released on 10th September, also features Antony Genn and Martin Slattery of Indie-Rock band The Hours.
Lorne Balfe said “I have always loved the music of The Hours and the songs Johnny wrote with The Smiths were a soundtrack to my youth. Johnny brought `Regan’s Theme` to life for me and with the added efforts of The Hours, the score was able to reach new heights“.
The film’s director, Nick Love, said “The final piece of the jigsaw was the music. To reinvent The Sweeney as a concept meant a score that felt modern and progressive… (Lorne Balfe and his musicians) delivered what I always hoped was possible; a score that lifts the film from its low budget British roots – and made it feel cinematic and expensively crafted”.
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