City Slang France posted a link to this 6 minutes short film/interview mix on facebook at the official band’s fb wall – filmed at the special night in Paris at the Cartier Foundation on 22.2.2016 – you can watch the full film here:
see here for a lengthy feature, interview, video film project (full) stream and Stuart A. Staples on each track of TWR (incl. full audio stream)
partial website screenshot
see here for details:
“Screen Daily reports that French auteur Claire Denis will make her English language debut with a sci-fi film set in space, co-penned by the filmmaker with acclaimed author Zadie Smith (“White Teeth,” “On Beauty“) andNick Laird. Plot details aren’t being shared just yet, except that the story will be set “beyond the solar system in a ‘future that seems like the present.’ ” So yes, we’re already totally on board. And the list of collaborators is even more fascinating with Danish-Icelandic artist Olafur Eliasson, and astrophysicist Aurélien Barrau lending their skills, with Stuart Staples ofTindersticks one again reteaming with Denis to score the movie. Better yet, things are moving right along with production to begin either in late 2015 or early 2016.
We really can’t wait to see what Denis does in the realm of science-fiction but perhaps the short film below is a clue. Late last year, Denis directed the short “Contact by Olafur Eliasson,” featuring music by Staples, to accompany an exhibition by the artist in Paris.”
in the meantime:
David Boulter recently worked on the soundtracks for two films, both scheduled to premiere at the Toronto International Film Festival this weekend, 13-14 September.
On Saturday evening Full Contact directed by David Verbeek, featuring Gregoire Colin – http://tiff.net/festivals/festival15/platform/full-contact
And Sunday afternoon Five Nights In Maine by Maris Curran –http://tiff.net/f…/festival15/discovery/five-nights-in-maine “
UPDATE: now it’s official – here the details:
http://www.tindersticks.co.uk/ypres/ includes video with “sunset glow” track
UPDATE 2: now available for pre-order CD & Vinyl at the band’s webshop http://www.tindersticks.co.uk/shop-2/
“LP, CD and Download available from these dates:
Germany, Austria and Switzerland – 17th October from City Slang
Rest of Europe and rest of the world – 20th October
The LP and CD will also be available from our online shop
The CD will be for sale in the museum shop.”
so the Flanders Museum Soundtrack (recorded 04-2012 & premiered at the museum opening in 06-2012) will be called “Ypres” and being released on the 20th of October:
Audio CD (20. Oktober 2014)
Anzahl Disks/Tonträger: 1
and also on Vinyl LP:
so it’s called “[b]Ypres[/b]” and being released on the 20th of October:
Audio CD (20. Oktober 2014)
Anzahl Disks/Tonträger: 1
and also on Vinyl:
UPDATE 3: the cover-artwork , here:
1. Whispering Guns Parts 1, 2 And 3
2. Ananas Et Poivre
3. La Guerre Souterraine
4. Gueules Cassée
5. Sunset Glow
6. The Third Battle Of Ypres O.S.T.
Catalog # Luckydog17 (CD) or Luckydog17LP (Vinyl)
“In early 2011, Tindersticks were commissioned by the In Flanders Fields World War One Museum in Ypres, Belgium to create the soundscapes for the new permanent exhibition commemorating the centenary of the Great War and beyond.
Tindersticks response was to write, record and produce a continuous, orchestral score to accompany the visitor on their emotional journey through the unique story of Ypres in the Great War. The score evolves through the different, distinctive spaces and sections of the museum, punctuated with private contemplative spaces where the music was allowed to be more poetic.
Made from a series of interlocking orchestral loops, the music flows seamlessly all day, everyday, without beginning, middle or end. The aim, for Stuart Staples, was for the soundtrack to “become the sound of air within the museum”.
Ypres was the epicenter of the Western Front in The Great War and was virtually destroyed by the conflict. It has since, only relatively recently, been rebuilt to its original plans. The museum is housed in the rebuilt cloth hall that stands in the centre of the town and was once the hub of the towns industry.
Hundreds of thousands died in Ypres and the surrounding area, with allied cemeteries and graves scattered everywhere. In keeping with the perspective of the new museum, Staples felt it crucial to “bring the essence of the experience to a personal level. To somehow loosen it away from the images we have all become accustomed to.”. Inspiration for the work was found in the quiet, dignified German memorial garden of Vladslo and Kathe Kollwitz’ famous ‘Grieving parents’ statue that resides there.
Stuart Staples and Dan McKinna worked closely to compose the score and felt the museum building resonated with a key of F. The starting point for the music became a musical cluster of E flat, F and F sharp. The recording was presided over by long time collaborator and orchestra leader Lucy Wilkins. The orchestral recordings were made at the Church in Crouch End, London and were then taken back to Le Chien Chanceux studio in France to prepare for the installation. In collaboration with London Sound designers ‘Sound Intermedia’ a bank holiday weekend in May 2012 was spent meticulously building the soundscape for every individual space.
The In Flanders Field Museum re-opened its doors with tindersticks soundtrack on 11th June 2012. Now tindersticks are releasing the recording of the soundtrack on October 2014 via lucky Dog Recordings”
this is how Ypres looks like in the end … “Not that the mood could ever be other than deeply sad” describes this impressive album very good
“Review from the Independent newspaper last week:
Commissioned as the soundtrack to the In Flanders Fields Museum commemorating the dead of the Great War, Ypres was designed by Tindersticks’ Stuart Staples and Dan McKinna as a series of interlocking orchestra loops running non-stop, their aspect shifting slightly as the visitor moves from room to room. Not that the mood could ever be other than deeply sad: the models are Gorecki’s ‘Symphony of Sorrowful Strings’, Barber’s ‘Adagio for Strings’, Feldman’s music for the Rothko Chapel, and, in the keening violins of ‘Ananas et poivre’ and ‘sunset glow’, Arvo Part. But it’s the 17-minute ‘Whispering Guns’ that sets the tone, with sombre strings swelling behind a tolling bell that brings to mind Gray’s ‘Elegy Written in a Country Courtyard’. 4/5 *”
update 5: the liner notes bring some surprises too ;)
Across Six Leap Years will be available to stream starting Monday 7th October 1 p.m. CET
Update: list of sites here (for forwarding link click here: http://www.tindersticks.co.uk/tomorrows/ )
UK – www.thequietus.com
Ireland – www.rte.ie
Germany – www.zeit.de
France – www.deezer.com
Spain – www.elpais.com (available 8 October)
Portugal – www.blitz.sapo.pt
Austria – www.kurier.at
Italy – www.sentireascoltare.com
Sweden – www.nojesguiden.se
Belgium – www.standaard.be
Update 2: the Soundtrack “Les Salauds” is streaming here:
some comments why they choose this tracklisting … hmmm :
“1. Friday Night (2002) is a maverick song, looking for a home. The seeds of this song were sown in response to Claire Denis’s Vendredi Soir before the band pulled out of making the soundtrack for the film. A stripped to the bone version appeared on my first solo album “Lucky dog recordings”. It was then picked up by the band in 2011 for the Claire Denis soundtrack tour and finally became what it was always looking to be.
2. Marseilles Sunshine (2003) was written for the band just before it imploded. This song has been dreaming of this version for 10 years.
3. She’s gone (1994) See No 8.
4. Dying slowly (2001) was written, in some way, as a response to Kurt Cobain’s death. In my own small way I felt divorced from our audience; both needing to and hating engaging with them. Even though I felt that ‘Dying slowly’ had a huge element of defiance and even victory in its essence, our band was feeling pretty resigned and the original became a pretty resigned recording.
5. If you are looking for a way out (1999) is our adopted song. I am still surprised that as I stood at the side of the school disco waiting for Nag nag nag to be played, I was listening more than I gave myself credit for. I never imagined that this song would stay with me for the rest of my life. We had one attempt at it on our album ‘Simple Pleasure’ – We were trying so hard to be loose.
6. Say goodbye to the city (2003) I am so thankful now to hold this version of a song that is so close to how it was originally conceived. I thought it had gone forever, and every time I heard it I would hang my head.
7. Sleepy song (1994) See No 8
8. A night in (1994) is a song from our second album. After making our first album something happened, my writing took a huge leap. A few months earlier I could not imagine trying to write a song like ‘A night in’. Unfortunately my singing and playing did not catch up until much later. These are songs that have proved to me to need a tenderness and understanding that I was unable to give them as a younger man on a first meeting, they have grown, their sentiments have grown, they talk about so many of the experience I have had since then.
9. I know that Loving (1999) is another song from ‘Simple pleasure’. A breakthrough song that we didn’t fully understand at the time. I remember trying so hard, spending hours singing this song in the studio. I felt there was a glass ceiling above me that I just couldn’t break through.
10. What are you fighting for? (2006) is a song looking to belong somewhere. This song was supposed to close ‘The Hungry saw’, it just never found itself in time for that moment.
stuart A. staples 2013”
“We are proud to announce the release of our 10th studio album, ‘across six leap years’, on 14 October 2013. Recorded at Studio 2, Abbey Road between 6-9 April 2013, ‘across six leap years’ features 10 new versions of songs from throughout our history.
‘Recording these songs again was not so much about righting past mistakes or inadequacies, but more about the power of now. Something that’s been growing since the film shows, something that made us recognise how we feel now, and connecting that to our past feel important.
Walking up to Abbey Road, it could easily have overcome us. But it had nothing to do with its past. We weren’t there to take photos on the crossing. I didn’t think about playing the Lady Madonna piano. I’d like to say it was just another studio, but sadly, that’s not true anymore. It’s one of the only studios of its kind left. And it wasn’t about our past either. These songs feel like cover versions. Someone else’s music we feel we had something new to bring to. Abbey Road could have been a big slap on the back. Or a big punch in the face. But it felt natural. It’s where we should be. It’s important that we got here and to give ourselves some credit. It’s also important to give these songs a new life.
And so much more fun than a greatest hits album. 21 years of tindersticks. This isn’t a selected highlights. It just shows how far we’ve come.’
David Boulter 2013”