Inspired by a number of conversations between director Yann Demange and music producer David Holmes, the majority of â€™71â€™s score was created before the film was shot.
Yann likes to shoot with music already written - an idea that resonates with the collaborative work of Sergio Leone and Ennio Morricone.Â With reference to CANâ€™s soundtrack work, in which only Irmin Schmidt would have seen the film, David would describe the emotion, tone and atmosphere of the scene with the other band members before recording and then editing to picture after.
He says â€œIt frees your imagination to try and capture a world that only you can see and feel but in total relation to the directors overall vision. Living in Belfast for most of my life was also a big inspiration.â€ Musically influenced by John Carpenterâ€™s â€˜Assault From Precinct 13â€™ & â€˜Escape From New Yorkâ€™, John Paul Jonesâ€™ â€˜Four Minute Warningâ€™ and Tony Conradâ€™s â€˜The Pyre of Angus Was In Kathmanduâ€™, the music pulses with the tension and potential terror of war-torn Belfast streets in 1971. Touch Sensitive Records 2014 http://www.touchsensitiverecords.com
â€œHolding it all together is David Holmesâ€™ terrific score, chiming guitars and alarum drums hovering over a rubble-bed of sampled sounds and remodulated chords, plaintive melodies emerging from a bedrock of discord and disquietâ€¦Demange uses Holmesâ€™s eerie score (to which he listened on set) to generate both growing tension and weirdly uncanny unease.â€ Kermode on the Observer
â€œA terrific soundtrack by David Holmes which ratchets up the tension and gives you this sense that things are eerie, things are uncanny, things are slightly out of wack.â€ Kermode and Mayoâ€™s Film Review Â