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Track List
01) Streets of Detroit
02) Funnel of Love
03) Sola Gratia, Part 1
04) The Taste of Blood
05) Diamond Star
06) Please Feel Free to Piss in the Garden
07) Spooky Action at a Distance
08) Streets of Tangier
09) In Templum Dei
10) Sola Gratia, Part 2
11) Our Hearts Condemn Us
12) Hal
13) Only Lovers Left Alive
14) This Is Your Wilderness
01) Streets of Detroit
02) Funnel of Love
03) Sola Gratia, Part 1
04) The Taste of Blood
05) Diamond Star
06) Please Feel Free to Piss in the Garden
07) Spooky Action at a Distance
08) Streets of Tangier
09) In Templum Dei
10) Sola Gratia, Part 2
11) Our Hearts Condemn Us
12) Hal
13) Only Lovers Left Alive
14) This Is Your Wilderness
0:35
3:40
3:24
5:48
1:14
4:19
3:33
1:35
2:56
5:08
4:34
4:28
3:30
3:51
Data Complete
40%
Total Rating
40%Total Rating
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Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2014
Composer
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Medium
Soundtrack
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Album Description
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Jarmusch's band SQÜRL, primarily responsible for the film's score, opens the film with a version of Wanda Jackson’s 1961 song "Funnel of Love". Other contributors to the soundtrack are Zola Jesus (a.k.a. Nika Roza Danilova) and Lebanese vocalist Yasmine Hamdan, while Dutch lute player Jozef van Wissem's compositions formed the core of the film's aural aesthetic. During the week of the soundtrack album's release, in April 2014, Van Wissem explained:
I know the way makes his films is kind of like a musician. He has music in his head when he’s writing a script so it’s more informed by a tonal thing than it is by anything else ... I feel that I’m sort of political. Jim’s film is anti-contemporary-society. And the lute goes against all technology and against all computers and against all the shit you don’t need.
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Available in:
Jarmusch's band SQÜRL, primarily responsible for the film's score, opens the film with a version of Wanda Jackson’s 1961 song "Funnel of Love". Other contributors to the soundtrack are Zola Jesus (a.k.a. Nika Roza Danilova) and Lebanese vocalist Yasmine Hamdan, while Dutch lute player Jozef van Wissem's compositions formed the core of the film's aural aesthetic. During the week of the soundtrack album's release, in April 2014, Van Wissem explained:
I know the way makes his films is kind of like a musician. He has music in his head when he’s writing a script so it’s more informed by a tonal thing than it is by anything else ... I feel that I’m sort of political. Jim’s film is anti-contemporary-society. And the lute goes against all technology and against all computers and against all the shit you don’t need.
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