Tindersticks — Ypres
⁄ Acclaimed English sextet whose melancholy, obtuse songwriting and the baritone vocals of Stuart Staples made them indie darlings during the ‘90s.
⁄ Tout est dans le titre.
⁄ Le musée In Flanders Fields de Ypres (Belgique) a commandé au régiment de Staples la bande son d’une exposition permanente.
⁄ Ypres, la guerre, la mort, les Tindersticks… C’est logique. Pas de son pour le moment. Les chansons du futur album des Tindersticks est encore coincé dans les salles du musée d’Ypres.
⁄ Mais le 20 octobre 2014, 100 ans et quelques mois après les hostilités, les Tindersticks feront le lien entre 1914 et 2014. Quelle heureuse idée.
Formed: 1992 in Nottingham, England
Location: Nottingham, UK
Album release: 17th October, 2014
Record Label: City Slang/Lucky Dog Recordings
1 Whispering guns part 1 :
2 Whispering guns part 2 :
3 Whispering guns part 3 12:47
4 Ananas et poivre 4:21
5 La guerre souterraine 5:21
6 Gueules cassées 2:36
7 Sunset glow 8:39
8 The third battle of Ypres 20:32
⁄ 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's 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 in October 2014.
⁄ Their sound is characterised by orchestral backing, lounge jazz, and soul; the orchestrations of multi–instrumentalist Dickon Hinchliffe (who left the band in 2006) and the baritone of lead vocalist Stuart A. Staples are the band's hallmarks. ⁄ Tindersticks augment their instrumentation with Rhodes piano, glockenspiel, vibraphone, violin, trumpet, trombone, clarinet, bassoon, Hammond organ, and many more.
Tony Clayton–Lea; Friday, October 17, 2014; Score: ****
⁄ Never ones to overstate the obvious, Tindersticks latest piece of work is informed by such a sense of loss it’s almost overbearing.
⁄ Commissioned in 2011 by the In Flanders Fields World War One museum in Ypres, to write music for its (then) forthcoming permanent exhibition commemorating the centenary of the first World War, Stuart Staples and Dan McKinna went about creating a series of soundscapes that wordlessly evoke the numbing sensation of grief.
The result (Staples has outlined as evolving pieces of music that provides the “air” in the various museum spaces) is a continuously interlocking orchestral score that imbues the listener with intense, contemplative feelings of sorrow. Creating music that opens a new chaper in what could well be the most interesting part of Tindersticks’ fitful career. — irishtimes.com, :: http://www.irishtimes.com/culture/music/tindersticks-ypres-1.1965991
⁄ In late 2011 tindersticks were commissioned by the In Flanders Fields World War One museum in Ypres, Belgium to provide the soundscape for the new permanent exhibition being planned to commemorate the centenary of the Great War and beyond.
⁄ Ypres was the epicenter of the Western Front in The Great War and was virtually destroyed by the conflict. It has since been rebuilt to its original plans, finished only relatively recently. 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. Allied cemeteries and graves are everywhere. It is overwhelming. Though in keeping with the perspective of the new museum a need to bring the essence of the experience to a personal level felt crucial. To somehow loosen it away from the images we have all become accustomed to.
⁄ A deep connection and 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.
⁄ The work is an evolving soundtrack to the vistors journey through the exhibition. Its aim was to become the sound of the air within the museum, never to be over bearing. This journey is punctuated by private comtemplative spaces where the score was allowed to become more poetic.
⁄ Given that buildings are known to be highly individual, the spaces within them resonating differently, it was felt that the building itself resonated to the key of F. The starting point for the music became a musical cluster of E flat, F and F sharp. Stuart Staples and Dan McKinna worked closely together to compose the work.
⁄ Recording the score, with its ever variable bar lengths and being void of vibrato was a tense day, presided over by long time collaborator, 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.
⁄ A beautiful bank holiday weekend in May 2012 was spent meticulously building the soundscape for every individual space, for each step through the museum.
⁄ This music was never created to be a stereo image as the various components were mixed together in the individual spaces of the exhibition. A second wave of studio work yielded this version.
⁄ The music in the museum itself loops seamlessly all day, everyday. It is music without a beginning , middle or end.
Stuart Staples: http://www.stuartastaples.com/