New tindersticks OST “Les Salauds / The Bastards”

from the press kit :

 

You collaborated again with Stuart Staples and other members of Tindersticks, who have written the music for all your films since “Nenette and Boni”, over fifteen years ago.

Stuart had read the screenplay, which I believe upset him a little. It took him time to find his bearings and start composing. I told him the film began in the rain, and suggested echoing this with dissonant electronic music. I had in mind Tangerine Dream’s music for Michael Mann’s “Thief”. He composed one song, which led him to another, “Put your love in me”, by the 70s English group Hot Chocolate, which he re-arranged.

Then we worked together as we’re accustomed to: I go and see him in his studio in Creuse, he comes to Paris to make me listen, we talk. But there’s less music than usual, it’s good.

 

Original Music – TINDERSTICKS

Composer – Stuart A. STAPLES

Keyboards – David BOULTER

Bass and keyboards – Dan McKINNA

Ondes Martenot – Christine OTT

Flute – Joanne FRASER

Trumpet – Terry EDWARDS

Vocals – Stuart A. STAPLES

All compositions published by Bug Music / BMG Chrysalis et © Lucky Dog 2013

 

update: some initial premiere screening reviews:

http://www.guardian.co.uk/film/2013/may/21/les-salauds-cannes-2013
The mood of foreboding is established right away, as 80s electronica squalls on the soundtrack and Lola Creton picks her way, naked, through the dark streets of Paris.
http://www.ropeofsilicon.com/bastards-salaudsmovie-review-2013-cannes-film-festival/
“As the credits started to roll, the loudest question I had was, “What the hell was that all about?” It’s one thing to play tricks with your narrative, but Denis has got to know this film just doesn’t add up as we’re left to walk out of the theater after watching a homemade rape film and as another piece of electronica plays over the credits.

Visually, the film is quite dark. Denis and her DP, Agnes Godard, shot in digital and definitely went for a darker, more atmospheric look and the score from Tindersticks started to grate on me as one scene bleeds into another about midway through the film as the sound of a ticking clock played underneath a throbbing single electric tone, which could be heard through much of the film.

http://www.hollywoodreporter.com/review/cannes-review-claire-denis-bastards-526261
“Every bit as cold and brutal as its blunt title suggests, Bastards (Les Salauds) is easier to admire than to love. Claire Denis is at the height of her powers in terms of unfaltering control, superb manipulation of mood and masterful use of music by her frequent collaborators Stuart A. Staples and British indie outfit Tindersticks.
“What elevates it above the material is Denis’ command as a filmmaker. Shooting digitally for the first time with frequent collaborator Agnes Godard, she creates a moody visual canvas full of mesmerizing dark textures, with the brooding techno scoring providing the ideal aural accompaniment.”

 

update 2: official film trailer 

 

streaming on Spotify:

https://play.spotify.com/album/4wiLfjAbhYYcUMbAel6Ff0
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New Album Release Date (14.10.2013) & Video Teaser of Across Six Leap Years

teaser for A6LY: 

A6LY teaser
“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”

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New Soundtrack for WWI Museum Re-Opening on 11th June 2012

Stuart & Dan created a new Soundtrack for a reopening of the WWI Museum in Ypres, Belgium

btw. no information available if this will be released in physical or download form anytime soon.

from the Press Release:

In Flanders Fields Museum
Reopens with tindersticks soundtrack on 11 June 2012
Tindersticks have written, recorded and produced the soundtrack for the redesigned IN FLANDERS FIELDS MUSEUM in Ypres which re-opens its doors to the public on 11 June 2012.
After a closure of seven months for a complete refurbishment, the internationally acclaimed First World War museum in Ypres (Belgium) re-opens in preparation for the Centenary Commemorations, from 2014 – 2018.
To cohere the museum’s radical new approach and design tindersticks were commissioned to provide the musical setting for the exhibition.
Their response was to provide a continuous orchestral score that evolves through the different, distinctive spaces and sections of the museum, a soundtrack to accompany the visitor on an emotional journey through the unique story of Ypres in the Great War.
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Early in 2011 we were approached to be involved in the redesign and reimagining of the In Flanders Fields Museum in Ypres, Belgium, to commemorate the centenary of the Great War and the destruction of the city that followed.

We had some experience of Ypres from a concert we performed in its Cathedral back in ’95. The special feeling of the place stayed with us (though I never imagined we would end up spending so much time back there).

A visit was arranged and I spent 2 days wandering the battle fields and graveyards with Piet Chielens (museum curator) all the while providing expert knowledge and insight – the First World War is just so fucked up, incomprehensible, one can’t help but be fascinated.

I believe that creating music (or anything) should be an emotional response, and though I was engaged, I wondered just what we could bring to the project.

I asked Piet where the German dead lay and he offered to take me there.

Along the way I learned that they were originally buried on leased land and that after a period of time the lease expired and the remains had to be relocated – It was then, in the 1950’s, that the cemetery at Vladslo was built.

We arrived there, the place felt remote and hidden, a light rain was falling.
I really wasn’t expecting to be so moved. Arresting in its humble dignity (the kind only afforded to the defeated) with such a delicate beauty and a deep, deep sorrow. I was overwhelmed. The Kathe Kollwitz sculpture ‘The Mourning Parents’ is almost unbearable in its setting.

It was here I found my connection, something I wanted to explore. The feeling of Vladslo, late in that drizzly May afternoon stayed with me throughout the whole writing and recording process. It was there that I was able to forget about the cliches of the First World War and connect with the personal sense of loss and waste felt by so many and its quiet, deafening testament to humanity.

On my return to the museum, the idea began to form of an evolving piece of music that created the ‘air’ in the spaces themselves, that subtly progressed with the journey through the museum. The only reference points I felt were Brittens War requiem (via Arvo Part) and the way the atmosphere is dictated by the Seagram murals in the Rothko room in Tate Britain.

I took these ideas back and began work with Dan McKinna. Together, over many months, we formed the score. It is music for strings, horns, drums, crystal baschet, piano and electric guitar.
It works in a series of interlocking loops creating relationships that define each of the spaces. The centre piece and climax is the soundtrack for the Klaus Verscheures film installation ‘The Third Battle’.

The soundscapes were recorded in London and Limousin in April 2012.

Stuart A. Staples.
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In Flanders Fields Museum
Adress: In Flanders Fields Museum, Lakenhallen, Grote Markt 34, 8900 Ieper
website: http://www.inflandersfields.be

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