It's happening again...
IN DREAMS : David Lynch Revisited
19 Sept 2025 - STRASBOURG, Opéra national du Rhin (Festival Musica)
20 Sept 2025 - LUXEMBOURG, Philharmonie
21 Sept 2025 - LONDON, Royal Festival Hall
A landmark live tribute to the songs and music from legendary film-maker David Lynch.
The visionary film-maker David Lynch is renowned not only for his surreal, bold and experimental films, but also for his musical mind, which contributed to the mystifying and disturbing beauty of their soundtracks.
Conceived by composer and musical director David Coulter, this concert tribute features a journey through the music from many of Lynch’s films and television shows, including Twin Peaks, Blue Velvet, The Elephant Man, Eraserhead and Mulholland Drive, reimagined by David Coulter and his stellar band of musicians and guest singers, including Anna Calvi, Mick Harvey, Conor O’Brien (Villagers), Sophia Brous, Kirin J. Callinan and (in Strasbourg & Luxembourg) Jehnny Beth.
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Une création de référence en hommage aux chansons et musiques du cinéma du réalisateur culte David Lynch.
Le cinéaste visionnaire David Lynch n’est pas seulement célébré pour son cinéma expérimental et audacieux, mais aussi pour sa pensée musicale qui a contribué à rendre mythique la beauté dérangeante de ses films comme de ses bandes originales.
Conçu par le compositeur et multi-instrumentiste David Coulter, cet concert-hommage est un voyage onirique à travers les chansons et musiques de nombreuses œuvres de Lynch pour le cinéma et la télévision : Twin Peaks, Blue Velvet, The Elephant Man, Eraserhead ou encore Mulholland Drive, réimaginées par Coulter avec son groupe de musiciens d’exception et les artistes invités, dont Anna Calvi, Mick Harvey, Conor O’Brien (Villagers), Sophia Brous, Kirin J. Callinan and (à Strasbourg & Luxembourg) Jehnny Beth.
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A co-production Rain dog productions & A Throw Of Dice Touring Ltd
Reprise 2025 en coproduction avec Festival Musica, Strasbourg.
Creative Producers : Marc Cardonnel & Bryn Ormrod
Lights : Damien Dufaitre
Sound : Lee Evans
Monitors : Emma Woods
Production Manager : Thierry ‘Karacas’ Cabecas
Tour Manager : Fanny Deroff
Photography : Sara Amroussi Gilissen
#lynchdreams
TICKETS AVAILABLE:
Strasbourg :
https://festivalmusica.fr/manifestation/2169/in-dreams-david-lynch-revisited
Luxembourg (box office opens on 10 July) :
https://www.philharmonie.lu/fr/programme/2025-26/in-dreams-david-lynch-revisited-000000e9001b9343
London :
https://www.southbankcentre.co.uk/whats-on/in-dreams-david-lynch-revisited/
WEBSITE UNDER DE + RE - CONSTRUCTION!
It’s been rather too long since I posted anything on here! 6 years in fact! Been fishing… New collaborations, new albums and new concerts upcoming. Will be updating soon. See what’s going on at my Instagram account @davidcoulter and write me for work projects and collaborations at davidcoulter@me.com
It’s Happening Again…
Photo: Cédrick Eymenier
SWORDFISHTROMBONES REVISITED
Artwork: Izzie Mack
Swordfishtrombones revisited
Tom Waits' darkest, boldest record revisited with guests including Matthew E. White, Nadine Shah, Soap&Skin, Dorian Wood and Lisa O'Neill.
28 October : London Barbican Centre > Swordfishtrombones Revisited
29 October : Dublin National Concert Hall, Dublin, Ireland > Perspectives: Swordfishtrombones Revisited
31 October : Paris Cité de la Musique Philharmonie de Paris
Released in 1983, Swordfishtrombones marked a new chapter in Tom Waits’ career as he drifted away from the piano jazz club atmospheres towards darker inspirations.
Mercurial multi-instrumentalist and composer David Coulter has worked with Waits as well as other artists such as Gorillaz, Kronos Quartet, Marianne Faithfull and The Pogues. He is also a curator of adventurous musical performances such as Rain Dogs Revisited, David Lynch Revisited and Jim Jarmusch Revisited. He is joined on stage by some of the UK’s finest musicians on stage including members of Polar Bear, The Invisible and more.
David Coulter : musical director, musical saw, guitar, percussions
Terry Edwards : saxophones, trumpet
Dave Okumu : guitars
Tom Herbert : bass
Thomas Bloch : ondes Martenot
Pete Saunders : piano
Sebastian Rochford : drums
and Lee Evans, Emma Woods, Fanny Deroff, Tom Sheppard & Karacas.
IBSEN'S "GHOSTS" at WILLIAMSTOWN THEATRE FESTIVAL
Earlier this year my friend and collaborator, Carey Perloff, invited me to compose a score for Paul Walsh’s new translation of Ibsen’s “GHOSTS”. What a wonderful way to spend the Summer!
Uma and David Photo Bernard White
With Catherine Combs, David Coulter, Tom Pecinka, Thom Sesma, Uma Thurman, Bernard White
“In this always compelling production, director Carey Perloff decides to bring the uncanny on stage, almost as a sixth character, in the figure of composer/musician David Coulter, who contributes a series of atonal and/or lyrical sounds, by way of water glasses, string instruments, percussion, and electronics. The self-consciousness of Perloff’s move would not have fazed a dramatist who brought in the voice of God (or is that an Angel?) at the end of Brand. Coulter stands behind a clear screen — he’s sometimes visible, sometimes not. He takes on a spectral visual resonance. Is he the ghost of avant-garde future?” http://theartsfuse.org/187234/theater-review-ghosts-specters-on-the-march/
“Yet things keep getting lifted up by Perloff’s most audacious choice, having composer/musician David Coulter mysteriously lit by James F. Ingalls behind Dane Laffrey’s massive glass wall, where he accompanies fraught moments with plangent notes performed on the likes of saws and wine glasses. As it happens, Jack Nitzsche employed the same unconventional instrumentation in his unforgettable score for the film One Flew Over the Cuckoo’s Nest, and Coulter achieves the same weirdly distancing, yet enveloping effect.” http://nystagereview.com/2019/08/12/from-williamstown-ghosts-and-before-the-meeting/
“David Coulter (Composer/Musician) whose use of unconventional materials and instruments during the performance provides an additional element that is complementary, enjoyable, and helps to keep the audience engaged.” https://www.broadwayworld.com/boston/article/BWW-Review-GHOSTS-at-Williamstown-Theatre-Festival-Proves-to-be-Fresh-and-Remarkably-Relevant-20190811
“…composer David Coulter to create a percussive soundtrack that underscores nearly every moment of the production’s two hours, suggesting to the audience how it should receive each earth-shattering disclosure. The music—which Coulter performs live, in full view of the actors and spectators—is often arresting, frequently resembling a Bernard Herrmann Hitchcock score, with tense, jittery pitches that refuse to neatly resolve.“ http://exeuntnyc.com/reviews/review-ghosts-williamstown-theatre-festival/
“Composer David Coulter performs his score by playing wine glasses, a saw, a xylophone and timpani.
The abstract, spare score is appropriately dark, brooding and sometimes eerie, often reminiscent of the atonal underscoring favored by Ivo van Hove (like in “The View From the Bridge”) to convey dramatic tension. Ms. Perloff says the score carried “the ghostly sounds of everything—lust, memory, fear, desire.” https://theberkshireedge.com/review-wtfs-disappointing-ghosts-lacks-drama/
“It is the spring and there is rain, or should be. Instead we have electronic music by David Coulter, which is wonderful and moody and filmic in its use and style, replacing the actual sound of nature crippling the lives of human souls in distress.” https://theberkshireedge.com/theatre-review-wtfs-memorable-ghosts-is-realistic-and-contemporary/
“Perloff achieves a heightened state with other elements, notably a live score by David Coulter that enhances the text rather than overwhelms it.” http://pittsfieldgazette.com/antique-ghosts-reveals-modern-truths-p4539-156.htm
Portrait of Uma… Photo: David Coulter
SWORDFISHTROMBONES REVISITED - 28 OCTOBER 2019
ARTWORK: IZZIE MACK
David Coulter presents the world premiere of his re-interpretation of Tom Waits’ darkest, boldest record with guests including Matthew E White, Nadine Shah, Sarah Blasko, Dorian Wood and Lisa O’Neill.
Released in 1983, Swordfishtrombones marked a new chapter in Tom Waits’ career as he drifted away from the piano jazz club atmospheres towards darker inspirations. This radical change of direction towards experimental rock became one of the seminal musical landmarks of the 1980s.
Mercurial multi-instrumentalist and composer David Coulter has worked with Waits as well as other artists such as Gorillaz, Kronos Quartet, Yoko Ono and The Pogues. He is also a curator of adventurous musical performances such as Rain Dogs Revisited, David Lynch Revisited and Jim Jarmusch Revisited. He is joined on stage by some of the UK’s finest musicians on stage including members of Polar Bear, The Invisible and more.
https://www.barbican.org.uk/whats-on/2019/event/swordfishtrombones-revisited
https://philharmoniedeparis.fr/en/activity/concert/20676-swordfishtrombones
FROM THE "SUNS" PIT AT SEATTLE REPERTORY THEATRE
Thanks Angela Nickerson for the interview and the wonderful photographs of me in action!
WORKING WITH STUART A. STAPLES + TINDERSTICKS
I have been a fan of Tindersticks for many years. After years of asking Stuart to collaborate of one of my tribute concerts (and him politely refusing every time!) he finally agreed to join us for the David Lynch project and delivered stellar performances every night. We became firm friends and he has subsequently involved me in many of his own projects, both solo and with Tindersticks. As a filmscore composer Stuart is unparalleled and I have enjoyed contributing my battery of strange sounds to a variety of his recent works. The most recent being his incredible work on Claire Denis’ latest offering HIGH LIFE. In spite of the film only being released in September Stuart has already won a Georges Delerue award for this score. Here’s Neil collecting the award.
Stuart always allows me to be totally free in trying out any ideas I might have and our days in the studio are pure pleasure. I have been developing a bowed vibraphone technique with which I build up chords over which I lay saw. Here’s the trailer for HIGH LIFE and if you listen to it you’ll hear what I just described.
And here a link to a terrific article in Variety magazine:
A THOUSAND SPLENDID SUNS - 2018
“The story unfolds to the accompaniment of haunting original music from David Coulter, who performs live — often coaxing otherworldly tones from saw blades and other unconventional instruments.”
Tribune review here
I never could have imagined that when Carey Perloff asked me to create a score for a new adaptation of a novel by Khaled Hosseini back in 2015 that it would lead to me winning my first ever award, meeting some of the most astonishing human beings, making deep new friendships and sharing this incredible story and my accompanying score to literally tens of thousands of people. I have performed this music over 200 times and I still am not tired of it. Here are few highlights from this last year.
“As with the 2017 run, David Coulter supplies otherworldly live music on the saw and other unconventional instruments.”
“David Coulter’s soundscape, performed live just off stage, provides a perfectly spare, film-like score, and an ornamentally perforated backdrop allows for vibrant changes in color, without being overwhelming or leaping into neon unreality.”
From City Arts Magazine
Rinabeth Apostol (Laila) and Denmo Ibrahim (Mariam)
TEHO TEARDO + BLIXA BARGELD COVER NEIL YOUNG CLASSIC "HEY HEY, MY, MY"
Always thrilled to play saw on anything that Teho Teardo does (with or without Blixa!)
JIM JARMUSCH REVISITED TRAILER
Here’s a trailer for the Jarmusch concert I created last year.
I AM NOT A PIECE OF MEAT (An online archive by Anna Furse)
My friend and erstwhile Goldsmiths College Head of Theatre and I go back a while. It is always a pleasure to get asked by her to create something. It is always an exciting and challenging thing to do. I AM NOT A PIECE OF MEAT required from me a solo musical saw version of an extract fro Mahler’s Das Lied Von Der Erde.
This interactive online archive is a collection of resources and information created through Anna Furse’s research process for An Anatomy Act, for which I created a score back in 2016.
Link to site here
THE GREAT AUSTRALIAN SONGBOOK
I was honoured to be asked to travel to Australia’s Gold Coast last Spring to make a new concert for Commonwealth 2018.
Photo: Peter Wheeler
Here’s a little bit about what we did in Australia back in April
Always fun to open a concert with a musical saw piece! Steve Nieve on his Steinway accompanied me in a very mournful version of Waltzing Matilda Photo: Peter Wheeler
The Great Australian Songbook takes our anthems, love songs and ballads and sings them back to us in the vibrant accents of the Commonwealth.
Under the direction of globally renowned David Coulter, singers and musicians from Canada, the United Kingdom, Jamaica, Nigeria and beyond reinterpret the songs that make us who we are. Join Peaches, Nadine Shah, Winston McAnuff, Afrikan Boy, Patrick Wolf, The Mahotella Queens and special guests Meow Meow and Bart Willoughby in an unforgettable night of Australian music.
KRONOS FESTIVAL 2018 (PART 2) - REVIEW AND PHOTOS
“As for the saw, that was the province of David Coulter, the musical polymath who is the festival’s artist-in-residence. For the encore of the CD’s title track, Coulter sat in with the rest, using bow and mallet to make the tool’s bendable metal produce a panoply of eerie moans and fierce pings. That, too, felt wonderfully of a piece.”
Link to review here
“David Coulter brings sound of saw to Kronos Festival
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Link to Jesse Hamlin’s very kind piece on me in the Chronicle here
And Evan Neff (photographer-in-residence for Kronos) has very kindly agreed to allow me to share his great photographs here. Thanks Evan.
A thousand thanks to Janet Cowperthwaite, David Harrington, John Sheba, Hank Dutt, Sunny Yang and all the innumerable folk who worked so hard to make these concerts so enjoyable and wonderfully taken care of.
KRONOS FESTIVAL DAY 1
Photos: Evan Neff
KRONOS FESTIVAL DAY 2
Photos: Evan Neff
KRONOS FESTIVAL DAY 2
Photos: Evan Neff
KRONOS PRESENTS: KRONOS FESTIVAL 2018
To be invited by Kronos Quartet to be artist-in-residence for this year’s Kronos Festival was a thrilling and unexpected gift. I have to pinch myself from time to time as I still have difficulty accepting that this improvising old Punk noisemaker was given the opportunity to tell some of his musical story on a stage with some of the world’s most astonishing and genre-breaking creative artists. I saw it as a kind of personal mission to use this opportunity to share some of the sounds and colours from my sonic imagination and some of the prized possessions from my instrumentarium. Together, with David Harrington, Janet Cowperthwaite and Kronos Quartet, we tried to curate as broad a set of musical landscapes that we could dream.
ONE DAY YOU'LL LOOK AND FIND I'VE GONE
Music from OST to the American Conservatory Theatre production of A Thousand Splendid Suns Trestle Records, LP, CD, DL / Released August 10 2018
Artwork: Ross Downes
‘The drama maybe unfolding in Taliban era Kabul, but in the dark of the theatre room, David’s music gives the shifting moods poetry, and a sense of transcendent, ethereal timelessness. The notes nudge their way into the subconscious space where they play as a human Cri de Coeur, a strangely beautiful musical sibling to the deep longings of Mariam and Laila.’ Khaled Hosseini, 2018
Trestle Records are proud to present 19 compositions from composer, music director and multi instrumentalist David Coulter. The award winning score was originally commissioned by ACT’s artistc director Cary Perloff to accompany the theatre adaptation of Khaled Hosseini’s, A Thousand Splendid Suns. Based on the bestselling novel by the author of The Kite Runner, this narrative about fate, friendship and cruelty, set in war-torn Afghanistan captivated readers and earned huge critical acclaim the world over on its release.
One Day You’ll Look And Find I’ve Gone features David’s signature sound of the lilting, longing tones of the musical saw accompanied by minimal string arrangements, haunting drones, subtle electronics and field recordings. A Thunder Sheet constructed from steel offers intervals of percussive abruptness and distanced rhythmical din whilst the incantation of esoteric instruments provide the evocative folk sounds inherent from the Jaw Harp, Mbira and fiddle. David’s reputation for harnessing the properties of such instruments found here have also been beautifully utilised in his previous projects such as Robert Wilson’s The Black Rider, a musical using the songs of Tom Waits, and the 2008 collaboration with Damon Albarn, Monkey, Journey To The West, both of which featured David as Music Director and performer.
Of the intentions for the compositions David commented,
‘The music will hopefully function as a means to enhance the audience’s experience. Khaled Hosseini’s novel and Ursula Rani Sarma’s script are extremely powerful and, at times, simultaneously beautiful and brutal. I simply try to find a sound that corresponds with a feeling or a mood. That is one of the reasons I love music so much as a medium. It is capable of so many nuances, colours, and meanings.’ David Coulter, 2018
Away from their service to the theatre production another life is possible for this music. The subtlety and contemplative nature of these recordings have the seductive redolent quality soundtracks tend to achieve when distanced from imagery. Suggestive and atmospheric there is space for a listener to inhabit these recordings. David respectfully decided early on in the process to not mimic or take direct influence from Afghan musical heritage. As with much of David’s work there is a timeless, placeless element where sounds are imbued with abstract emotional openness. ‘Old’ instruments making ‘New’ sounds. The record has been released under the alternative title to reflect this other life that is possible for ‘applied’ music to be enjoyed for it’s own merits.
Although most tracks feature David alone he is joined by a talented band featuring guitarist and producer Leo Abrahams, Polar Bear drummer Seb Rochford, Electronic musician Simon Fisher Turner and Jake Rodriguez. The CD will come with a newly commissioned text from author Khaled Hosseini. What follows is that text.
For a writer, allowing his or her book to be adapted by another set of artists is an exercise in trust. When Director Carey Perloff first broached the subject of musical arrangement for ACT’s adaptation of A Thousand Splendid Suns, I imagined, quite naturally, a score based on traditional Afghan music. In my head, I heard ubab, tabla, harmonium, maybe a tula flute. What I most certainly did not hear was what Carey Perloff coyly proposed: the saw. My initial response was quiet skepticism. The saw? But Carey had already won me over with a host of other brilliant insights for the play and, as I said earlier, adaptation is an exercise in trust.
Am I thrilled I did not mount resistance to the idea.
It is all but impossible for me to imagine seeing A Thousand Splendid Suns on stage without the plaintive tones of David Coulter’s haunting and evocative score, much of it through his uncanny genius with the aforementioned saw, but enriched also by his creative use of jaw harps, bells, pitch pipes, and yes, even rusty bed springs. In a way, Carey Perloff’s instinct was dead on.
The saw, after all, is a tool for violent severing. But David Coulter’s hands coax from it something gentle, sounds of indescribable mournfulness and eerie tenderness, much as the heroines of A Thousand Splendid Suns wheedle moments of hope and grace from an existence of fear, hunger, and pervasive violence.
In David’s instrument, as in the play itself, beauty and brutality are bedfellows. But the true genius of David Coulter’s wondrous score, along with diegetic sound design by Jake Rodriguez, is that it suffuses the play with a dreamlike quality that proves as impossible to capture in words as it does to be left unmoved, untransformed, and un-transported by. His work elevates the story from the specifics of its temporal and geographical setting to a plane of universal emotion. The drama maybe unfolding in Taliban era Kabul, but in the dark of the theater room, David’s music gives the shifting moods poetry, and a sense of transcendent, ethereal timelessness. The notes nudge their way into the subconscious space where they play as a human Cri de Coeur, a strangely beautiful musical sibling to the deep longings of Mariam and Laila.
Aldous Huxley once said that after silence, that which comes nearest to expressing the inexpressible is music. David’s score graces A Thousand Splendid Suns with precisely this quality. For that I am deeply grateful to him.
As we say in Afghanistan, Tashakor, David jaan.
Khaled Hosseini 2018
A THOUSAND SPLENDID SUNS
Join us as #AThousandSplendidSuns makes its return to A.C.T.!
Based on the international best-selling novel by Khaled Hosseini, A Thousand Splendid Suns is the epic story of three generations of Afghan women who are bound together by marriage, family, and a secret past, amid the war-torn streets of modern-day Kabul. Adapted for the stage by acclaimed Irish-Indian playwright Ursula Rani Sarma, this stunning production reunites many of the original cast members and will, once again, feature live music from renowned composer and saw player David Coulter.
12 dates · 17 Jul – 29 Jul
A FEW TICKETS STILL AVAILABLE:
"But the most impressive production element is the music, composed and played by David Coulter. The eerie, melodious sounds of the saw open the show. Throughout the piece, Coulter plays around a dozen other instruments, including thunder sheets, springs, and a violin. It’s not Afghani music: The soundscape of the play represents its emotional landscape rather than its physical landscape, very successfully."
http://www.starkinsider.com/2017/02/thousand-splendid-suns-san-francisco-theater-review.html
"There is also a partially improvised score, performed live by composer David Coulter, which is as thoroughly integrated as a movie soundtrack, but never obtrusive."
https://theatrestorm.com/2017/02/10/review-a-thousand-splendid-suns-premieres-at-a-c-t/
"Framed by David Coulter’s haunting and delicate score, which he plays live on musical saw and other instruments, “Suns” musters the cathartic release of an epic tragedy tinged ever so slightly with hope. By the time the sun is setting on the characters, it’s hard to beat back the tears that prick at your eyes."
"An excellent score composed and played by David Coulter smooths over the faster, rougher transitions and gives a through-line to the work."
http://sfist.com/2017/02/09/sfist_reviews_a_thousand_splendid_s.php
"Original music by David Coulter (who collaborated on ACT’s storied “Black Rider” in 2004), on the saw, the guitar, and strange, percussive instruments, helps new moods creep into scenes, imbuing them with eerie or tender undercurrents that feel inextricably connected to yet apart from what’s onstage."
http://www.sfchronicle.com/performance/article/A-resplendent-Thousand-Splendid-Suns-10921577.php
"David Coulter composed and performed the subtle and exotic score, playing on (this is from his program bio) “musical saw and other weird and less weird instruments,” and adding immensely to the shifting moods."
http://m.huffpost.com/us/entry/14715476
"The music too — a haunting, metallic score from David Coulter — is an abstraction rather than a product of Afghan culture."
http://www.dailycal.org/2017/02/13/act-thousand-splendid-suns/
"Composer David Coulter’s music well compliments these quick changes and overall tone of the production."
http://progressivepulse.com/news/sfs-a-c-t-premieres-powerful-production-of-spendid-suns/
"The production has a hauntingly gorgeous original score written and performed by David Coulter"
http://wisegiving.org/2017/02/a-thousand-splendid-suns/
"A live musical score composed and played by David Coulter brings at time, tears."
"The play’s score from David Coulter, including the uncanny sound of a saw, gave the production a sense of minimalist timelessness and made me imagine that the action took place somewhere away from normal reality. At once I was in a faraway country and also in some sort of universal theater of the mind, grappling with human issues that transcended any specific locale. This score worked well if the intent was to make the setting seem different, to remind us that we were no longer in San Francisco and had to abandon preconceptions about how the characters’ world worked and how they would view events."
http://synchchaos.com/?p=12867
"But it is the music, written and performed by David Coulter, that provides the most powerful backdrop, adeptly creating a sense of tension and place throughout the play's entire two and a half hours. "
"The larger than life set is complimented by an original score, written and played live by the composer, David Coulter. Coulter stands stage right in a mini-orchestra booth, hardly separated from the audience. He makes us feel a part of more than a theatrical experience. Playing the musical saw and other unique instruments, Coulter completes the emotional immersion."
http://theatrius.com/2017/02/13/a-thousand-splendid-suns-shines-on-women-at-a-c-t-s-f/
"Based on the novel written by Khaled Hosseini, the production has a hauntingly gorgeous original score written and performed by David Coulter"
http://wisegiving.org/2017/02/a-thousand-splendid-suns/.
With his original music reflecting the region and the emotional elements of the story (all played on instruments true to Afghani traditions), David Coulter provides an ongoing stream of haunting notes and melodies that accentuate the epic yet microscopic view the playwright and director lay out before us of daily life in war-torn Kabul.
http://theatreeddys.blogspot.ca/2017/02/a-thousand-splendid-suns.html?m=1
"The whole is hugely enhanced by original music performed live on saw and assorted percussion instruments by David Coulter."
JIM JARMUSCH REVISTED @ PHILHARMONIE DE PARIS #2
"Jim Jarmusch revisited" s’offre un plateau éclectique autour de David Coulter
Publié le 30 Novembre 2016
Mulatu Astatke, Alex Kapranos (Franz Ferdinand), Camille O’Sullivan, Jolie Holland et Sam Amidon : cinq musiciens unis par leur fascination pour le cinéma de Jim Jarmusch.
JIM JARMUSCH REVISITED @ PHILHARMONIE DE PARIS #1
Tomorrow I head to Paris to make my own "big show" for this year for Philharmonie de Paris with my dear friends Marc Cardonnel and Bryn Ormrod and my "A Team Band" (Seb Rochford, Tom Herbert, Dave Okumu, Steve Nieve and Terry Edwards, augmented by Gaspar Claus and Carla Pallone.) We will revisiting the songs and music from the films of one of my favourite film directors, Jim Jarmusch. My special guests will include Mulatu Astetke, Jolie Holland, Alex Kapranos (Frantz Ferdinand), Sam Amidon and Camille O'Sullivan. Performances are on 3 + 4 December at Philharmonie de Paris.
http://philharmoniedeparis.fr/en/activity/concert/17189-jim-jarmusch-revisited
AN ANATOMY ACT * IN ABSENTIA...
I've been ill. It's a long story! I'm not going there on here! But I'm back and wanting to share some new upcoming projects.
This last week I have been in Dublin working with my dear friend Anna Furse on a wonderful new project that she has been building for Live Collision Festival (www.livecollision.com) with Mela dell' Erba (design elements) and myself (sound composition) Henry Dagg will be playing saw (as I can't make the performances this time) and I have been very lucky to work with an incredible sound designer, Carl Kennedy, to create recorded music which will punctuate and underscore the performance.
http://www.livecollision.com/portfolio/an-anatomy-act-a-show-and-tell/
#MUSICALSAW: LOW - HOLY GHOST WITH SAW ACCOMPANIMENT
Playing lots of #MusicalSaw at the moment... Thanks so much to my buddy Shawn Biggs for his persistence and persuasive powers! And to Kora Radella for playing me this song. A tiny insight into "the process"!
Recorded and filmed by Shawn Biggs of Little Echoes at Studio Paradiso in San Francisco on August 12th, 2016.
Go out and get this fabulous album if you don't already have it. Available for purchase at the links below.
"Holy Ghost" from the 03/19/13 Low album The Invisible Way
Sub Pop Mega Mart https://megamart.subpop.com/releases/...
iTunes https://itunes.apple.com/us/album/the...
Amazon http://amzn.com/B00ABIRGAS
Watch more videos from Low http://u.subpop.com/16lFgX8
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