„Paul would constantly send through any new ideas, demos, or recordings, and what was unique and beautiful about this approach was that Paul’s new compositions were now inspiring and influencing the story as I was re-writing it‘, said Johnny Harris. ‚I’d also send Paul through new drafts of the script, or any new ideas as they were forming along the way, and a beautifully collaborative process evolved.“
(„Jawbone“ is out in British cinemas on March 17)
Disregarding the fact that he has created the most beautiful song of his career here, this soundtrack is so far away from the persona of the „mod-father“ dating back to his „Jam“- and „Style Council“-days that die-hard fans will turn away with anger before the first chords of that killer folk song (track no. 2) would possibly stop them in their tracks.
So much more happens around and within this 21-minute opening collage (John Zorn would be thrilled!), on a record full of violoncello-fuelled bitterness, grey noise, lost piano figures, sharp dialogues, one short burst of electric guitar, night-field-recordings & nightmarish sceneries cosmically fucked up beyond human control.
It’s intense, very intense, and, sometimes, unexpectedly beautiful (the revelation of simply strumming a well-tuned acoustic guitar). When all seems having been gone completely wrong, close to the end of the long opening act, Paul Weller sings like a wounded animal with a distant Sinatra-touch, bereft of all romanticism, pure shiver, no silver.