Bright Sunshine In – “Un beau soleil Interieur” / O.S.T. by Stuart A. Staples

In Cannes the new film of Claire Denis premiered.

The music/soundtrack was created by Stuart A. Staples.

an interview with Julliet Binoche & Claire Denis on the film:

here on the film:
http://next.liberation.fr/cinema/2017/05/18/claire-denis-la-mise-amour_1570499

Claire Denis is faithful. To his actors for example – Alex Descas in Un beau soleil interior – to his technicians, to the music of Stuart Staples, who is still accompanying this new film.”

another article:

http://next.liberation.fr/cinema/2017/05/21/stuart-a-staples-bande-puissante_1571238

“The 51-year-old musician is also the author of a jazz that colors the filmUn beau soleil intérieur, by Claire Denis (see Libération de Jeudi ). This is the seventh soundtrack he signed for the filmmaker.”

more details on the film:
http://www.imdb.com/title/tt6423776/?ref_=ttexst_exst_tt
and from http://www.hollywoodreporter.com/review/no-farewells-sans-adieu-review-1005500 on the other OST Stuart Staples is doing in 2017:

“The film also benefits from the music of Stuart A. Staples, the frontman of British band Tindersticks who wrote the soundtracks for Claire Denis’ recent films, including her latest Cannes entry Bright Sunshine In.”

 

and here’s an interview about this & other film released questions:

As for this new film by Claire Denis, UN BEAU SOLEIL INTÉRIEUR, you who come from rock, do however here jazz …

SS : Yes in part. I wanted to explore. There was an element of music that was “outside”, linked to the context, and the other that came from within, the intimate character of Juliette Binoche. But there are also moments of break in the film when the background music comes to the foreground and carries a real message. There is, for example, a scene in the film where the character is in a taxi and there is this jazzy music in the background. The radio lights up and the background moves to the foreground. This background moves from something passive and uninteresting to something essential, central, and I think these transitions are very important.

For this score, you have used a jazz band?

SS : Yes, the Julian Siegel Quartet. They are very instinctive London musicians. They just had to explain the themes they had in the film and then they developed the atmospheres, the atmosphere.

Is there some improvisation?

SS : Yes, there is a central theme played by the piano and the guitar which becomes the starting point of an improvisation. It is an evolving theme around the piano and the electric guitar. ”

(translated from french original, see below for full link)

 

http://www.cinezik.org/infos/affinfo.php?titre0=20170525223701

Share

“Sans Adieu” Documentary / O.S.T.

The Film premiered in Cannes Film Festival this week;  here’s a review:

http://www.hollywoodreporter.com/review/no-farewells-sans-adieu-review-1005500

“The film also benefits from the music of Stuart A. Staples, the frontman of British band Tindersticks who wrote the soundtracks for Claire Denis’ recent films, including her latest Cannes entry Bright Sunshine In.”

another article:

http://next.liberation.fr/cinema/2017/05/21/stuart-a-staples-bande-puissante_1571238

” He signed the music of Sans adieu (see page IV), a documentary by Christophe Agou presented at the Acid. The two men were friends, the filmmaker died a few months after finishing his film on Auvergne breeders. “It would have been redundant to describe the characters, already strong and hard. The music of Sans adieu is a suspended arch, a sound deconstructed from one end of the film to the other. I created rest with my own characters: a harmonium, an electric guitar and an electric piano. “ ”  (translated from french original version in the article)

 

and here’s an interview about this & other film released questions:

” About SANS ADIEU, this is a very different project for you because it is a documentary; What does that change for you?

SS : I did not really talk about it as a documentary. For this film, the characters were so raw and strong that the music had to avoid them. But at the same time, the film needed to be a little helped. As a spectator, I felt that I needed some help to get transported into the film. And that was the starting point. I had this idea of ​​a kind of deconstructed song: it is as if the soundtrack was a song of 3min but spread out over 1h30 so stretched in length, with instruments that play together and which are sometimes separated, which n Do not always occupy the same rhythmic place. But there really is this idea of ​​song with key changes that go through the film. And at the end of the film, the song is complete.

What was the intention for instrumentation?

SS : The idea was really to build a line, a current to direct us into the film, without highlighting such and such a sad passage for example. We had to be very careful to find something organic that was an integral part of the landscape without troubling the character. And what is interesting is the choice of the use of electric guitars. Our ears are so used to electric guitars that they are accepted regardless of the shape they take. With popular music, our ears are used to the electric guitar so when heard, it is not like with the violin that causes a certain sadness instantly, it is just accepted as such as a versatile, adaptable sound. It’s very rare. C ‘ Is particular and powerful. It’s like a silence that says a lot and that’s why I chose it as the main instrument for the film because I do not think that another instrument allows this. If we played the same thing on the piano, it would instantly be more poignant or impacting. The piano is more emotional, whereas with guitar, there is something that transports us differently, that is why it has become the main instrument.

And the flute?

SS : Apart from my guitar, there’s David Boulter on the harmonium, Dan playing the electric piano, and once we set the base, Joe Fraser, a flutist with whom we work quite hard, a very good musician, Was invited. We tried to get her into this universe. This is not an easy place to take. It was difficult because you could not be too sad or lyrical, you just had to follow the breath. ”

(translated from french original, see below for full link)

 

http://www.cinezik.org/infos/affinfo.php?titre0=20170525223701

 
______________

Production Company: Les Enragés
Director-cinematographer: Christophe Agou
Producers: Aurélie Bordier and Pierre Vinour
Editor: Virgine Danglades
Music: Stuart A. Staples
Venue: Cannes Film Festival (ACID)
Sales: Les Enragés

In French
99 minutes
Stuart Staples will be composing the O.S.T. on the forthcoming (if realized) Christophe Agou documentary “Sans Adieu” – here’s the project crowdfunding/project page in french:

http://www.touscoprod.com/fr/project/produce?cleanname=sansadieu#.V9KaJNyhpqI.facebook

“Montage-son, mixage, étalonnage, conformation aux normes, master et copies de projections DCP, master et copies vidéos…
À cela il faut rajouter la musique que compose actuellement Stuart Staples du groupe anglais Tindersticks, connu notamment pour avoir composé la plupart des musiques de films de Claire Denis. Ils sont en tournée mondiale depuis le début de l’année 2016.”

“To this we must add the music is currently composed by Stuart Staples of the British group Tindersticks, known for having composed most of the music for films by Claire Denis.”

 

sans-adieu-project-team

source: Website screenshot

Share

new O.S.T. for C.Denis space sci-fi film will be produced 2015/2016

see here for details:

http://blogs.indiewire.com/theplaylist/claire-denis-to-make-english-language-debut-with-sci-fi-movie-set-in-space-co-written-by-zadie-smith-20150629

 

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.”

 

UPDATE:

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 “

Share

new tindersticks soundtrack “Ypres” to be released 17th/20th october 2014

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

 

“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:

http://www.amazon.de/Ypres-Tindersticks/dp/B00N9LNM84/ref=sr_1_1?s=music&ie=UTF8&qid=undefined&sr=1-1&keywords=tindersticks

Produktinformation
Audio CD (20. Oktober 2014)
Anzahl Disks/Tonträger: 1
Format: Import
Label: V2
ASIN: B00N9LNM84

and also on Vinyl LP:

http://www.amazon.de/Ypres-Vinyl-LP-Tindersticks/dp/B00N9LNMWK/ref=sr_1_2?s=music&ie=UTF8&qid=undefined&sr=1-2&keywords=tindersticks

so it’s called “[b]Ypres[/b]” and being released on the 20th of October:

http://www.amazon.de/Ypres-Tindersticks/dp/B00N9LNM84/ref=sr_1_1?s=music&ie=UTF8&qid=undefined&sr=1-1&keywords=tindersticks

Produktinformation
Audio CD (20. Oktober 2014)
Anzahl Disks/Tonträger: 1
Format: Import
Label: V2
ASIN: B00N9LNM84

and also on Vinyl:

http://www.amazon.de/Ypres-Vinyl-LP-Tindersticks/dp/B00N9LNMWK/ref=sr_1_2?s=music&ie=UTF8&qid=undefined&sr=1-2&keywords=tindersticks

 

UPDATE 3: the cover-artwork , here:

Ypres

setlist:

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”

 

 

Update 4:

 

 

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

YPRES-CDVinyl

“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 ;)

 

Share

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
Share

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.
=======================
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.
=======================

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

Share

Tindersticks again in Portugal this summer (16th July)

Sat, 16.th July 20:00, Mares Vivas Festival, Vila Nova de Gaia, Portugal

tindersticks will be playing again in Portugal as part of this year’s Mares Vivas Festival in Vila Nova de Gaia on 16 July! Tickets on sale through the following link:http://www.ticketline.pt/
(found on facebook btw)
Share