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Jim Jarmusch
Father Mother Sister Brother (OST) [magenta LP]

postrock
Sacred Bones, 2025

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vinyl:32,28€
Out of stock
availability: 2 weeks ?
colour : red
format : 12"LP
number of discs : 1


no. title play mp3
1 Spooky
2 Disorder
3 Skaters (Short Version)
4 The Lake 1
5 The Lake 2
6 The World In Reverse
7 Afterwards
8 Order
9 Twins
10 Skaters
11 Return
12 Emptiness
13 These Days
14 Jetlag
15 Paris Bleu
16 These Days (Berlin Version)


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https://youtu.be/NkFBWDMqWUo

Winner of the Golden Lion Best Film prize at the 2025 Venice Film Festival, Father Mother Sister Brother is the eagerly-awaited new film from Jim Jarmusch, featuring the collaborative soundtrack by Anika and Jim Jarmusch. Funny, tender and astutely observed, this is an intimate exploration of the universal intricacies of family dynamics. Starring Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Indya Moore and Luka Sabbat.

Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance, while Anika admired Jim as a mentor who had stayed true to his unique vision throughout his career. This mutual respect led to a creative collaboration, which culminated in the haunting soundtrack for Jarmusch’s film Father Mother Sister Brother.

Jim first invited Anika to record a cover of Jackson Browne’s "These Days," inspired by Nico’s iconic version. This fully arranged track, prepared by Anika and featuring the Kaleidoskop string quartet, was recorded in Berlin and appears as a bonus track on the album as “These Days (Berlin Version)”. Jim later mixed a more minimal version of the song, adding several electric guitar tracks. While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s “Spooky.” Anika, who had performed a live version, suggested they cover it. The stripped-back version they created—featuring just vocals, upright bass, finger snaps, and a distorted organ riff—was chosen to open the film’s credits.

Beyond these covers, much of the film’s score was born out of improvisation. Jim and Anika spent hours improvising together, leading to a second round of recordings in Berlin, where Anika played Wurlitzer and electric guitar and Jim contr
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