#the achingly beautiful string motifs

[thesearchforbluejello]

This has absolutely been discussed many times but I am once again losing it over the fact that "Rogue One" as a name is making sound out of silence.

It's formed as a last minute, emergency name for the shuttle, for the people aboard, for the mission when Bodhi says it; it has no precedent, nothing that came before it for that name to be used. But when Bodhi says it, it exists.

It both takes advantage of and retcons the Rogue Squadron we've seen before in the original trilogy, where there was no Rogue One. But there is now, because Bodhi said it.

Jyn's name, Cassian's name, K's name, Chirrut's name, Baze's name, Bodhi's name, every one of the rebels that are on the shuttle... none of them come up again in the things that temporally follow. Yes, those pieces of media were created before this film, but in the world of the story, they come after, and it becomes a remarkable silence.

Rogue One as the team that took Scarif and stole the Death Star plans exists as Rogue One because Bodhi pulls that name out of silence, out of nothing that preceded it. "Rogue One?! There is no Rogue One!" "Well, there is now." And after Scarif, there is no Rogue One again. It existed only for what it accomplished.

On a meta level, that's exactly what the film does as well-- it tells a story that was only a handful of vague lines before, draws it out of the lacunae and places itself where it belonged to tell a story that was restrained by the shape of the narrative that came before it and was unavoidably wrapped around it. It's the quintessential "doomed by the narrative."

There's also the fact that Jyn's theme is built around dies irae and reflexively creates a reference to her in parts of A New Hope and also makes the score tell you that she's doomed by the narrative to die but I've screamed enough already.

[bubmyg]

there was no particular reason i wrote all this down other than reading the translations to my universe made me cry last week because i’m just Like this. this is a mini compilation of yoongi lyrics that i hold gently in my palm and close to my heart in a he’s my artist for life kind of way. these aren’t all my favorite yoongi lyrics, i certainly have more but not ones that fit this general vibe. 

this is like extremely disorganized, i kind of just wrote it like a journal (and i’ll probably copy it to my bullet journal at some point actually). interpretations are my own, music is cool in that we can all read and hear the same thing and get different things out of it (which is why yoongi has often said he doesn’t attach specific meaning to things, giving it up to the listener instead)

so yeah. here’s me being fond of yoongi in 4k for no reason other than. idk. i wanted to. all translations are from doyoubangtan and doolsetbangtan. 

song request - lee sora ft suga

“I’ll be with you, for your birth and your end; That you’d remember that I’m with you, wherever you are; I’ll be a comfort for your life at any time, and so; please, that you’d lean on me and take a rest, every once in awhile.”

to me, this perfectly encapsulates what creating music is for yoongi in a two-fold kind of way. not only does he want his music to be a source of comfort for those who listen to it (just as the art of music is for himself), he’s also consistent in his assurance that taking a rest is okay. not being okay is okay. simply existing for the time being is okay. it’s a gentle empathy that comes from the experienced heart of someone who’s not going to tell you that it is okay, but will tell you that it won’t always be like this. friendly little moon trying to get you to smile with him on sleepless nights.

so far away - agust d ft suran

dream, will eventually be in full bloom at the end of hardships

this was on my undergrad graduation cap. it’s one of my favorite lyrics of all time. if so far away is my heart song, this is my heart lyric. this is a common motif in yoongi’s lyrics; dormancy is only temporary, you will bloom at the end of the cold winter.

dream, hope it to be there with you at your creation and at the end of your life

creation to end is another common motif n his lyrics. in this specific context, i imagine it to most closely be analogous to holding dreams close to you your entire life. dreams are dreams no matter how they manifest, even if they’re simply something you long for until your “end”.

Hope it to be there with you at your creation and at the end of your life; It will be generous to you wherever you stand; It will eventually be in full bloom at the end of hardships; The beginnings will seem humble, so prosperous will the future be

the entirety of this song reads like a story and this last refrain reads like the conclusion (kind of). the slight wording change from the previous choruses means a lot in that regard, more definite and firm. you will be okay. maybe not now, maybe not next week. but you will be.

suga’s interlude - halsey ft suga

Though the dawn before sunrise is darkest; don’t forget the stars you longed for only rise in the darkness

just a really pretty but heart wrenching lyric in the context of the entire song. he’s also used this metaphor several times. i love me a good string of consistency with minor adaptations to fit the vibe. this song also made me cry the first time i read the translations lmao.

my universe - coldplay ft bts

Because the trial we face now is just for a moment anyway; All you have to do is to just keep shining bright like now; And we will follow you, embroidering this long night

this could mean so many things depending on how you wanted to contextualize it. of course the song is about love, so you could view it in that way. we’re in the midst of a global pandemic where we can’t see each other. or maybe it’s simply existence. continue to exist and one day your bright light will be followed even in the darkest of nights.

also the og title of telepathy being 잠시 (for a moment) is so...min yoongi you are so cool

people - agust d

Did someone say humans are the animals of wisdom?; The way I see it, humans are the animals of regret

Your ordinaries are my extraordinaries; Your extraordinaries are my ordinaries; Your ordinaries are my extraordinaries; Your extraordinaries are my ordinaries

super simple to understand which i think makes it more poignant. especially if you contextualize it with everything he’s said or written regarding the plight of fame and how he himself grapples with it as min yoongi.

28 - agust d ft niihwa

just this whole song. if song request encapsulates yoongi’s musical ethos, this captures a lot of his general musings.

paradise - bts

Just living like this, surviving like this, that’s my small dream; Dreaming dreams, grasping dreams, breathing breaths, it’s often too much

a more blunt take on the simply existing is a good enough dream. yoongi’s 2018 new years message was one of the things that made me go “yes. Him™” so paradise is very <3 for me

interlude: shadow - bts

Flying high scares me; I mean, nobody had told me; how lonely it is here –;how my leap could be my fall

another thing he uses frequently, even as recently as an interview regarding permission to dance. the contemplation of how a fall is far scarier than landing because getting back up is uncertain.

Yeah, I’m you and you’re me, do you finally get that now?; Yeah, you’re me and I’m you, do you finally get that now?

the entirety of this song is haunting particularly paired with the sampling and the music video as a visual but this part is just...the whole idea of competing internal voices throughout the narrative of the song or if you’d rather truly treat the lyrics like a piece of literature, you have quite the unreliable narrator, one that’s trying to grapple with his own sense of self.

140503 at dawn - agust d

Pretending that I’m not lonely, pretending that I’m not suffering; needlessly pretending that I’m okay, and pretending hard that I’m strong; I built a wall in front of me, “Don’t come inside”; I’m an island in this wide ocean, “Don’t abandon me”

the entirety of agust d just makes me ache but i mainly pulled this part because he uses the island metaphor consistently. here, it’s used like i said before; achingly.

this song also gets overlooked a lot in the larger context of agust d but anyway

eight - IU ft suga

Island, yeah this is an island; a small island that we made for each other; Yeah, mm, forever young, the word ‘forever’ is a sandcastle; A farewell is just like an emergency text warning of a disaster; A morning met together with yearning; As each of us pass this eternity, we’re sure to meet again on this island

can i be honest and say i forgot this song came out at the beginning of the pandemic. anyway, if you haven’t heard the various times that jieun has spoke about this song and it’s conveyance, i encourage you to. the music video also gives a beautiful visual.

i wrote a small analysis of this when it came out so i’ll just put it here 

burn it - agust d ft max

I hope you don’t forget that giving up decisively also counts as courage

of course this can absolutely be taken at a literal meaning especially considering he said a similar iteration of this to someone on kkul fm BUT i also like looking at it in context of the entire song because maybe this is him trying to convince himself too, especially considering the wording of the last chorus doesn’t change it so it implies in order to get past the fire u need to let it burn first? burn it = giving up on some aspect of pain?

i see why max didn’t shut up for eight months about making this song i wouldn’t either hello

outro: tear - bts

im including this one firstly because i love the song but secondly to say i knew the second u all were surprised by yoongi saying he wrote this as essentially a break up song for bts and they all cried while listening to it that y’all don’t actually read or interact w their lyrics fjdklafjsd

just bc it’s a rap song doesn’t mean it’s a diss or a flex. weirdos.

intro: never mind - bts

I hope you forget about all your mistakes and such; Never mind; It’s not easy, but engrave this in your heart; If you think you’re going to crash, accelerate more, you idiot; Never mind, never mind; Whatever thorny path it may be, go run; Never mind, never mind; There are a lot of things that you can’t control

the entire composition of nevermind is similar to first love and shadow to me where you can just hear the emotion in his voice while performing it

this is also another general idea that he mentions a few different times through different songs which as we’ve seen i am <3 for

intro: the most beautiful moment in life - bts

once again i don’t have a specific lyric to pull i just love this song so much and i feel like it isn’t talked about enough because first of all the use of the basketball throughout the instrumental, the incorporation of the origin of his stage name into an entire song regarding his general existence as a performer and coming into the beginnings of sizeable fame, and just his general way of essentially writing one giant ode to something he loves and analogizing it to something else he loves to talk through internal struggles.

aka im once again saying min yoongi you’re so cool

first love - bts

same line of awe from above this whole song is just a story, a poem, a journal entry, a beautiful confession, i don’t know. this is yoongi’s best bts solo u can argue with a wall about it also if you were able to see this live i hope u have a terrible week (im joking)

every fancam i’ve ever seen of this makes me cry. so. do with that what you will in regards to how i feel about this song.

[wannabugi]

“Animae Dimidium Meae,” Piano Concerto in A Minor

Pairing: Lan Wangji/Wei Wuxian Rating: G Part: 1/? Genre: classical music au, nodame cantabile au, your lie in april au if you squint Summary: There’s a part at the beginning of Rachmaninoff’s Symphony No. 2, 3rd movement, just before the clarinet begins its solo, where the strings sing an achingly beautiful motif that hangs in the air like the soft mist on an early autumn morning.The phantom melody clings to Lan Wangji’s soul like the mist does to his skin. It’s September, and the leaves have just begun to turn color in GuSu, and Lan Wangji feels his heart stutter to life. (alternatively, lwj is an awkward boi who plays the piano)

[wewerepromisedsomuch]

Album Review: The National

Artist:  The National

Title:  Sleep Well Beast

Record Label: 4AD

Release Date: 8th September 2017

Rating: 9.5/10

It’s been a steady trajectory for The National, delivering critically and fan acclaimed album after album, scaling festival bills to the lofty spot of headliners and after 18 years as a band, they can sell out the 20,000 capacity O2 Arena with ease. It’s been four years since the Cincinnati quintet released their last album, the sublime ‘Trouble Will Find Me’ and some would think that the outfit’s attention has been on anything but The National, given that most members have been contributing to film scores, producing other acts and generally being busy boys away from their day job. Contrary to popular belief, the fivesome have been chewing over ideas since September 2014, some of which have resulted in their 7th LP ‘Sleep Well Beast’. “We really didn’t take much of a break”, says Vocalist Matt Berninger. “We started working on this record the minute we finished touring the last one. The only break we took was from constant pressure we put on ourselves”.

Guitarist/producer Aaron Dessner sums up ‘Sleep Well Beast’ best “we didn’t feel like rushing it”. Where most bands wouldn’t want to lose momentum, The National took stock, they let ideas flow, they built their own studio, they pulled in peers and contributors, and they produced their new album with only the pressure of themselves to battle against. This elongated gestation period has birthed an album that overflows with confidence; it’s fearlessness is palpable.

‘Sleep Well Beast’ is its own microcosm, both lyrically and sonically; at times the album feels like a love letter to New York – as if the Big Apple is the record’s canvas, but you’ll stumble across instances where thematically the album shrinks back and becomes fragile and intimate. Berninger’s delicate vocal croaks words of crumbling relationships, isolation and the human condition. ‘Born to Beg’ harnesses those NYC notions, going as far to chronicle the city’s evolutionary ways “New York is older/changing its skin again/it dies every 10 years and then it begins again”. New York’s moments within ‘Sleep Well Beast’ pivot on the seasonal, with ‘Born To Beg’s set on a sweltering June day whereas ‘Empire Line’ plunges the listener into the iconic city’s unforgiving winter “here the sky has been falling white flowers/and there’s icing on the trees”. The bitter cold also crops up on opener ‘Nobody Else Will Be There’, as Berninger’s well aged, smoked vocal evaporates when declaring “it’s getting colder/but New York’s gorgeous/it’s a subway day”. When not ruminating on, arguably the most famous city on the planet, lyrics take a turn for the introspective “I’m always thinking about useless things/I’m always checking out/I’m always mothering myself to bits/I’m always checking out” painting heavy the portrait of a man trapped inside his own head via ‘Walk It Back’. The perils of love and how it can breakdown are littered throughout the record. ‘Guilty Party’ is an achingly confessional song depicting the fresh ruins of a relationship, “it’s nobody’s fault/no guilty party/we just got nothing/nothing left to say”. Again, ‘Empire Line’ has Berninger asking “You’re in this too/can’t you find a way?” as to plead with the other side of a fragmented love affair.

It would seem The National’s endeavours at uncovering new sounds has paid dividends as far as ‘Sleep Well Beast’ is concerned; the album ripples with experimentation and innovation. Forays into electronic motifs cosy up exquisitely to organic drum patterns, piano refrains invoke a raw human connection and given The National find themselves in the arenas of the world, there are two anthemic behemoths that will fill those cavernous venues with ease. ‘Turtleneck’ must be the most unhinged song about a sensible piece of knitwear! Despite the conservative attire-themed song title, this is The National at full tilt, raging with frazzled, pent up frustration. ‘Day I Die’ isn’t tinged with anger like ‘Turtleneck’ but it’s still a colossal song built on shifting quiet/loud dynamics and siren-esque guitar squall. Urgency replaces rage and despite the song’s melancholic roots “The day I die/where will we be?”, the song rings out with a triumphant grandeur. Aside to the skyscraping beauties on ‘Sleep Well Beast’ there’s the skittering, staccato electronica of ‘I’ll Still Destroy You’ and the record’s eponymous track – both of which judder with danceable melancholy. Then there’s ‘Carin In The Liquor Store’ anchored by a plaintive piano line, which is eventually accompanied by sorrow laden strings. ‘Dark Side Of The Gym’ is another moment where ‘Sleep Well Beast’ applies fantastic orchestration in a track’s dying moments – framing a song that commences with a shuffling waltz.

Simple yet complicated. Widescreen and intimate in the same breath - ‘Sleep Well Beast’ finds The National free of expectation and of pressure – this is a truly wonderful record.

[krakowergroup]

PR: Wind River

LAKESHORE RECORDS, IN CONJUNCTION WITH INVADA RECORDS, PRESENTS WIND RIVER - ORIGINAL MOTION PICTURE SOUNDTRACK With Original Score by Nick Cave & Warren Ellis “WIND RIVER also boasts some of the most exciting music I have heard in cinema in recent time.” -- Screen Comment (July 17, 2017 – Los Angeles, CA) – Lakeshore Records and Invada Records are proud to announce the labels will be releasing the WIND RIVER – Original Motion Picture Soundtrack digitally on August 4, 2017. The soundtrack will be released on vinyl and on CD later this year. The album features the original score by Nick Cave & Warren Ellis (HELL OR HIGH WATER, WAR MACHINE). Recently screened at both the Sundance and Cannes film festivals, the film was described as, “a quiet, meditative crime drama, and a wonderfully effective one, aided by haunting music by Warren Ellis and Nick Cave” by The Wrap.  Screen Daily said, “Music, from Nick Cave and Warren Ellis, seems to underline the isolation and alienation of the reservation, to speak of the sadness of a people set apart.”

“The soundtrack to the beautiful WIND RIVER was first and foremost the incessant wind or the grieving silence of the snow,” said the composers, Nick Cave & Warren Ellis.  “Amid those elemental forces we made a kind of ghost score where voices whisper and choirs rise up and die away and electronics throb and pulse.” WIND RIVER is a chilling thriller that follows a rookie FBI agent (Elizabeth Olsen) who teams up with a local game tracker with deep community ties and a haunted past (Jeremy Renner) to investigate the murder of a local girl on a remote Native American Reservation in the hopes of solving her mysterious death. Written and directed by Taylor Sheridan, WIND RIVER also stars Gil Birmingham, Jon Bernthal, Julia Jones, Kelsey Asbille, and James Jordan. They added, “It was a huge pleasure to work with Taylor Sheridan as he seemed to have a unique understanding of the power of music, that it could become the second-voice in the film.” The Weinstein Company presents WIND RIVER in theaters on August 4, 2017.  The same day Lakeshore Records, in conjunction with Invada Records will release the WIND RIVER – Original Motion Picture Soundtrack through all major digital providers.  The soundtrack will also released on CD and on vinyl at a later date.   ### http://www.lakeshorerecords.com https://www.invada.co.uk/ For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter ABOUT NICK CAVE & WARREN ELLIS Nick Cave and Warren Ellis create film and theatre scores that are elegantly minimal, hauntingly beautiful and instantly recognizable as theirs alone. Full of light and shade, creeping dread and inconsolable yearning, these heavily instrumental sound paintings inject aching humanity into ghostly frontier towns, parched desert vistas and post-apocalyptic war zones. Most are built around the duo’s intertwined piano and violin melodies, with sporadic use of guitar, flute, mandolin, celeste, percussion and other elements. Vocals are rare and sparing. But even without lyrics, they are always lyrical. While Cave and Ellis have played together in the Bad Seeds and related projects since 1995, their shadow career as score composers only blossomed a decade later. The duo created their first suite of cinematic soundscapes for The Proposition (2005), directed by fellow Australian and frequent collaborator John Hillcoat. Scripted by Cave himself, this brutal Outback western starred Guy Pearce, Ray Winstone, Emily Watson and Danny Huston. Bedded in looped violin motifs, these widescreen instrumentals and hushed ballads evoked the parched majesty and sweltering savagery of the story’s elemental desert setting. According to Cave, discovering Ellis’ deep archive of violin loops was a revelatory tipping point, laying the foundations for the duo’s unorthodox composition methods. “It was suddenly an amazing way to write because you didn’t have to do things from scratch,” he explains. “Warren would put on a loop that would create this instant atmosphere, and we could go off and work on top of that. To sit at a piano, put chords onto a linear loop and make something out of that is just an easy and very pleasurable way to work.” Cave and Ellis followed The Proposition with a trio of kinetic theatre pieces for the much-feted Icelandic actor-director Gisli Örn Gardarsson: Woyzeck (2006), Metamorphosis (2006) and Faust (2010). Their speedy composing techniques allowed them to take risks on this kind of left-field production, where raw creative energy takes precedence over budget. They also added plaintive tones and drones to two acclaimed documentaries: Geoffrey Smith’s The English Surgeon (2007), about an exiled doctor’s struggle to bring modern neurosurgery to post-Soviet Ukraine, and Matthew Watson’s The Girls of Phnom Penh (2009), a compassionate portrait of three sex workers in Cambodia. Meanwhile, Hollywood began to take an interest in the shape of Andrew Dominik’s elegiac anti-western The Assassination of Jesse James by the Coward Robert Ford (2007), starring Brad Pitt and Casey Affleck. Because of post-production delays, the score was composed before Cave and Ellis saw a single frame of the finished film, and yet these sepia-tinted sound paintings and retro-rustic ballad proved a perfect fit for Dominik’s visually sumptuous psychological study of hero worship and homicidal stalking in the Old West. Cave even played an acting cameo, as a yelping saloon-bar minstrel. Between film scores, the duo’s freeform working methods increasingly began to bleed into their rock-band day jobs with the Bad Seeds, Dirty Three and especially Grinderman. “Initially with The Proposition we would sit there and make hours and hours of music,” Ellis recalls. “Then that sprawled into the way we started doing the Grinderman stuff. It felt like there was a way to take that stuff into the bands, or form a band based around that approach. The score work always felt like it was asking to go to places that the bands weren’t.” Cave and Ellis reunited with director John Hillcoat for his sombre adaptation of Cormac McCarthy’s dystopian novel The Road (2009), starring Viggo Mortensen as a loving father guiding his young son across the ash-strewn ruins of a post-apocalyptic America. Their artfully minimal score combines mournful piano with clanging industrial percussion, heartsick longing and lurking malice. An anthology album of the duo’s film music to date, White Lunar, was also released in 2009. After contributing to Everardo Valerio Gout’s award-winning Mexican crime thriller Days of Grace (2011), Cave and Ellis composed a full score for Amy Berg’s true-life documentary West of Memphis (2012), about a notoriously controversial murder case in Arkansas. The duo then changed musical gear for their next John Hillcoat collaboration, the blood-soaked Depression-era bootlegging thriller Lawless (2012), starring Tom Hardy and Jessica Chastain. Cave adapted the screenplay while he and Ellis assembled a wilfully anachronistic selection of bluegrass cover versions, performed with a supergroup ensemble of vocal legends including Willie Nelson, Emmylou Harris and Mark Lanegan. Cave and Ellis’ created a ravishing score for director David Olehoffen’s Far From Men (2104). The film – a triple prize-winner at the Venice film festival - stars Viggo Mortensen and Reda Kateb. Adapted from a short story by Albert Camus, it is a powerful tale of divided loyalties and colonialist violence during Algeria’s war of independence. With its mesmeric drones, pointillist piano jabs, weeping strings and nerve-jangling electronics, this is one of the duo’s most emotive and experimental soundtracks to date, sounding both achingly intimate and cosmically vast. 2016 saw Cave and Ellis’ score Hell or High Water directed by David Mackenzie. Nominated for Best Picture in this year’s Oscars, the film follows two brothers who carry out a series of bank robberies to save their family ranch, and stars Jeff Bridges, Chris Pine, and Ben Foster.  During 2016 the duo also scored the National Geographic Channel’s six-part series “Mars” (directed by Everardo Gout). “Very often a tension can happen between music and picture that is about chance and a kind of unknowingness that can be really amazing,” Cave says. “Just by putting together two things that were created in isolation, music and film, suddenly something quite magical can happen.”

[krakowergroup]

PR: War Machine

LAKESHORE RECORDS, IN CONJUNCTION WITH INVADA RECORDS, PRESENTS THE SOUNDTRACK FOR THE NETFLIX ORIGINAL FILM WAR MACHINE With Original Score by Nick Cave & Warren Ellis (May 22, 2017 – Los Angeles, CA) – Lakeshore Records, in conjunction with Invada Records, will release the soundtrack for the Netflix Original Film War Machine digitally on May 26th and CD and LP later this year.  The album features the original score by Nick Cave & Warren Ellis (Wind River, Hell Or High Water). “It is always helpful to be pushed into different worlds that are unique and unknown,” said composers Cave and Ellis.  “War Machine demanded a wholly different type of score than we had previously done. Together we made a score that was both light and dark, propulsive and meditative at the same time.  We developed a kind of 'spiritual electronics’ that captured both the melancholy and the terrible absurdity of the Afghan war.  It was a great pleasure to work with David Michôd, who is not only an extraordinary filmmaker but a musician too.  Our favorite score!”

In a film for our times, writer-director David Michôd (Animal Kingdom) recreates a U.S. General’s roller-coaster rise and fall as part reality, part savage parody – raising the specter of just where the line between them lies today. His is an anti-establishment, pro-soldier exploration in the form of an absurdist war story of a born leader’s ultra-confident march right into the dark heart of folly. At the story’s core is Brad Pitt’s sly take on a successful, charismatic four-star general who leapt in like a rock star to command NATO forces in Afghanistan, only to be taken down by his own hubris and a journalist’s no-holds-barred expose. War Machine addresses the debt we owe to soldiers to question the purposes to which they are being directed. The Netflix Original Film is inspired by the book The Operators: The Wild & Terrifying Inside Story of America’s War in Afghanistan by the late journalist Michael Hastings. Joining Pitt in War Machine is a highly decorated cast including Emory Cohen, RJ Cyler, Topher Grace, Anthony Michael Hall, Anthony Hayes, John Magaro, Scoot McNairy, Will Poulter, Alan Ruck, Lakeith Stanfield, Josh Stewart, Meg Tilly, Tilda Swinton and Sir Ben Kingsley. Brad Pitt, Dede Gardner, Jeremy Kleiner, Ted Sarandos and Ian Bryce serve as producers. James W. Skotchdopole, Pauline Fischer, Sarah Bowen and Sarah Esberg serve as executive producers. TRACK LISTING 01. Ah America - Nick Cave & Warren Ellis 02. Humble Man - Nick Cave & Warren Ellis 03. The Bubble - Nick Cave & Warren Ellis 04. The Civilian Executive - Nick Cave & Warren Ellis 05. In Liebe Dein - Roedelius 06. Badi Basim - Nick Cave & Warren Ellis 07. Kamee - Roedelius       08. The Moon Landing - Nick Cave & Warren Ellis 09. Our Noise - Nick Cave & Warren Ellis 10. Fabelwein - Roedelius 11. Jeanie - Nick Cave & Warren Ellis 12. NY Snow Globe - Rachel's 13. Thousands of Parades, All Over America - Nick Cave & Warren Ellis 14. Marjah - Nick Cave & Warren Ellis 15. Staunen im Fjord - Roedelius 16. The Hand Of Helping - Nick Cave & Warren Ellis 17. Be Lovely - Nick Cave & Warren Ellis 18. A Page In The History Books - Nick Cave & Warren Ellis 19. War Machine - Nick Cave & Warren Ellis War Machine will be released on Netflix on May 26, 2017.  Lakeshore Records, in conjunction with Invada Records, will release the War Machine – Netflix Original Film Soundtrack digitally on May 26th and CD and LP later this year. # # # http://www.lakeshorerecords.com For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter ABOUT NICK CAVE & WARREN ELLIS Nick Cave and Warren Ellis create film and theatre scores that are elegantly minimal, hauntingly beautiful and instantly recognizable as theirs alone. Full of light and shade, creeping dread and inconsolable yearning, these heavily instrumental sound paintings inject aching humanity into ghostly frontier towns, parched desert vistas and post-apocalyptic war zones. Most are built around the duo’s intertwined piano and violin melodies, with sporadic use of guitar, flute, mandolin, celeste, percussion and other elements. Vocals are rare and sparing. But even without lyrics, they are always lyrical. While Cave and Ellis have played together in the Bad Seeds and related projects since 1995, their shadow career as score composers only blossomed a decade later. The duo created their first suite of cinematic soundscapes for The Proposition (2005), directed by fellow Australian and frequent collaborator John Hillcoat. Scripted by Cave himself, this brutal Outback western starred Guy Pearce, Ray Winstone, Emily Watson and Danny Huston. Bedded in looped violin motifs, these widescreen instrumentals and hushed ballads evoked the parched majesty and sweltering savagery of the story’s elemental desert setting. According to Cave, discovering Ellis’ deep archive of violin loops was a revelatory tipping point, laying the foundations for the duo’s unorthodox composition methods. “It was suddenly an amazing way to write because you didn’t have to do things from scratch,” he explains. “Warren would put on a loop that would create this instant atmosphere, and we could go off and work on top of that. To sit at a piano, put chords onto a linear loop and make something out of that is just an easy and very pleasurable way to work.” Cave and Ellis followed The Proposition with a trio of kinetic theatre pieces for the much-feted Icelandic actor-director Gisli Örn Gardarsson: Woyzeck (2006), Metamorphosis (2006) and Faust (2010). Their speedy composing techniques allowed them to take risks on this kind of left-field production, where raw creative energy takes precedence over budget. They also added plaintive tones and drones to two acclaimed documentaries: Geoffrey Smith’s The English Surgeon (2007), about an exiled doctor’s struggle to bring modern neurosurgery to post-Soviet Ukraine, and Matthew Watson’s The Girls of Phnom Penh (2009), a compassionate portrait of three sex workers in Cambodia. Meanwhile, Hollywood began to take an interest in the shape of Andrew Dominik’s elegiac anti-western The Assassination of Jesse James by the Coward Robert Ford (2007), starring Brad Pitt and Casey Affleck. Because of post-production delays, the score was composed before Cave and Ellis saw a single frame of the finished film, and yet these sepia-tinted sound paintings and retro-rustic ballad proved a perfect fit for Dominik’s visually sumptuous psychological study of hero worship and homicidal stalking in the Old West. Cave even played an acting cameo, as a yelping saloon-bar minstrel. Between film scores, the duo’s freeform working methods increasingly began to bleed into their rock-band day jobs with the Bad Seeds, Dirty Three and especially Grinderman. “Initially with The Proposition we would sit there and make hours and hours of music,” Ellis recalls. “Then that sprawled into the way we started doing the Grinderman stuff. It felt like there was a way to take that stuff into the bands, or form a band based around that approach. The score work always felt like it was asking to go to places that the bands weren’t.” Cave and Ellis reunited with director John Hillcoat for his sombre adaptation of Cormac McCarthy’s dystopian novel The Road (2009), starring Viggo Mortensen as a loving father guiding his young son across the ash-strewn ruins of a post-apocalyptic America. Their artfully minimal score combines mournful piano with clanging industrial percussion, heartsick longing and lurking malice. An anthology album of the duo’s film music to date, White Lunar, was also released in 2009. After contributing to Everardo Valerio Gout’s award-winning Mexican crime thriller Days of Grace (2011), Cave and Ellis composed a full score for Amy Berg’s true-life documentary West of Memphis (2012), about a notoriously controversial murder case in Arkansas. The duo then changed musical gear for their next John Hillcoat collaboration, the blood-soaked Depression-era bootlegging thriller Lawless (2012), starring Tom Hardy and Jessica Chastain. Cave adapted the screenplay while he and Ellis assembled a wilfully anachronistic selection of bluegrass cover versions, performed with a supergroup ensemble of vocal legends including Willie Nelson, Emmylou Harris and Mark Lanegan. Cave and Ellis’ created a ravishing score for director David Olehoffen’s Far From Men (2104). The film – a triple prize-winner at the Venice film festival - stars Viggo Mortensen and Reda Kateb. Adapted from a short story by Albert Camus, it is a powerful tale of divided loyalties and colonialist violence during Algeria’s war of independence. With its mesmeric drones, pointillist piano jabs, weeping strings and nerve-jangling electronics, this is one of the duo’s most emotive and experimental soundtracks to date, sounding both achingly intimate and cosmically vast. 2016 saw Cave and Ellis’ score Hell or High Water directed by David Mackenzie. Nominated for Best Picture in this year’s Oscars, the film follows two brothers who carry out a series of bank robberies to save their family ranch, and stars Jeff Bridges, Chris Pine, and Ben Foster.  During 2016 the duo also scored the National Geographic Channel’s six-part series “Mars” (directed by Everardo Gout). “Very often a tension can happen between music and picture that is about chance and a kind of unknowingness that can be really amazing,” Cave says. “Just by putting together two things that were created in isolation, music and film, suddenly something quite magical can happen.”