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O'ROURKE, JIM - Hands That Bind

Format: LP Label & Cat.Number: Drag City DC 839 Release Year: 2023 Note: Soundtrack to the movie of the same name by KYLE ARMSTRONG ('prairie gothic' tale of down-on-the-farm horror' north in Canada): "Jim O’Rourke’s soundtrack is perfectly calibrated to this unforgiving space squashed between parched fields and blown-out sky. His palette - detuned piano, watery vibraphone, and a muted, amorphous shimmer that might be harmonium or synthesizer - matches the film’s dusty tones of beige and pewter and mobile-home brown" - comes in nice gatefold cover Price (incl. 19% VAT): €27.50 More Info "In addition to his day job transforming pop music with his own records, as well as those of Gastr del Sol, Loose Fur and Sonic Youth over the past few decades, Jim O'Rourke has been contracted for several dozen film scores over the years as well. It makes sense -- his abilities as an improviser, composer and producer allow him to interpret cinematic moments with a unique understanding for their construction and how they work. It doesn't hurt that Jim's a well-versed cineaste, a complete and total fan of watching films, which has given him a preternatural understanding of the role of music in movies. What doesn't make sense is how Hands That Bind is the first film soundtrack of Jim's to ever receive worldwide release! He's worked with filmmakers of international repute, like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu! He served as music consultant on Richard Linklater's 2003 laff-fest, School of Rock! He's played in ensembles of award-winning documentaries and films alike! ... Made for an indie film that's been seen by festival audiences and not enough others, the soundtrack for Hands That Bind is a moody, atmospheric delight. Jim's roots in composition via tape-editing have evolved into a sophisticated assembly of found-and-processed sounds that achieve highly musical, near-orchestral majesty as they hang in the very air of the drama that unfolds in Kyle Armstrong's Hands That Bind. Described as a 'slow-burn prairie gothic drama' set in the farmland of Canada's Alberta province, and starring Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, Hands That Bind is a spellbinding trip to the existential bone of rural working life in North America. As conflict rises over the hard-worked patches of land that provide a mere and mean existence, a desperate air settles in, as a series of mysterious, often supernatural occurrences rock the small community. O'Rourke's vaporous, serpentine musical backdrops and atmospheres reflect the obsessions and distractions of the film's principles; moods of all sorts seen or otherwise implied. Additionally, the music highlights cinematographer Mike McLaughlin's closely observed accounting of the farmers' environment, as well as the striking widescreen images of the big sky country with unnerving flair. For fans of Jim's ongoing steamroom series as well as collectors of soundtracks, Hands That Bind will provide hours of engrossing listening..." [press release] https://jimorourke.bandcamp.com/album/hands-that-bind-original-motion-picture-soundtrack ################################################# "The experimental producer and composer’s score for the prairie gothic film is luminous, faintly menacing, and clouded with uncertainty. In Kyle Armstrong’s Hands That Bind, horror is hiding in plain sight. The film, which premiered in 2021 and is due for theatrical release this fall, is set amid desolate Alberta farmlands—a space whose relentless flatness you might assume allows for few mysteries. Straight roads stretch endlessly toward the horizon; barns outnumber trees by a wide margin. Any approaching threat ought to be visible from miles away. But in the world of this carefully paced prairie gothic, unsettling events arrive from out of nowhere, leading to more questions than answers. Who, or what, is mutilating the farmers’ cattle? Who’s in the black sedan making ominous drive-bys? And what are those lights swirling in the sky? The crucial question, which drives the film’s grippingly human drama as well as its more cryptic events, is philosophical in nature: whether we can ever truly be certain about anything. “My opinion isn’t going to solve anything for you, because my opinion is that I don’t know,” remarks a bartender played by a scene-stealing Will Oldham, as he turns off a Scratch Acid song on the stereo. “Certainty is the rare exception to the rules of life. Whatever’s easiest to swallow is what most folks gravitate towards. Even if you lie to yourself, as best as you can, and look for something you call true, well, whatever your theory is, it’s probably wrong.” Jim O’Rourke’s soundtrack is perfectly calibrated to this unforgiving space squashed between parched fields and blown-out sky. His palette—detuned piano, watery vibraphone, and a muted, amorphous shimmer that might be harmonium or synthesizer—matches the film’s dusty tones of beige and pewter and mobile-home brown. A high-end fizz resembles the incessant whine of crickets; the occasional spritz of static mimics the strange electrical phenomena on screen. Closer in spirit to the longform drone works of his Steamroom series than the fingerpicked Americana of Bad Timing or the mischievous classic rock of Simple Songs, O’Rourke’s instrumental score is, much like the landscape of the film, flat, faintly menacing, and miserly with its details. (Another comparison point might be the Boxhead Ensemble’s 1997 soundtrack to the film Dutch Harbor: Where the Sea Breaks Its Back, featuring O’Rourke alongside Chicago luminaries like Ken Vandermark and Douglas McCombs.) It begins gently enough, with a high, lonesome harmony reminiscent of a freight train’s distant whistle. An acoustic bass plucks out a tentative melody. These opening passages move with pastoral ease. But the music quickly sours, clouded with uncertainty, as dark, shapeless figures clamber up from the lower register to disturb the tranquil upper reaches. Light is one of the film’s unspoken subjects—the implacable sun beating down on sere crops, the bokeh-like orbs cutting curlicues in the night sky—and O’Rourke’s soundtrack has similarly luminous properties. He favors soft attacks that come on like a backlist mist, and streaks of dissonance that flash out and disappear, swallowed up in the dull radiance. The 38-minute score cycles through just a handful of themes and motifs, stirring them occasionally, as though to keep them from sticking. Halfway through, with “A Man’s Mind Will Play Tricks Upon Him,” brushed cymbals and plucked bass kick up a groove beneath a chiming piano melody; it’s one of few places where the record approaches anything resembling a song. But the moment is fleeting. In the concluding “One Way or Another I’m Gone,” the drumbeat returns, but this time there’s no lightness to it. It plods sullenly as jabbing tritones, a constant throughout the album, hint at a nameless evil. The soundtrack ends as it began, hovering in a nebulous interzone, neither major nor minor—ambiguous, ambivalent, unresolved.\\\" [Pitchfork] ############## Eight years after “Simple Songs”, his last solo outing with the label, the towering talent of Jim O’Rourke returns to Drag City with “Hands That Bind”, the first LP in his long career to offer a proper release to his soundtrack work. Composed for the director Kyle Armstrong’s 2021 film of the same name, the album\'s eight sublime musical complements interweave subtle melodic elements, bristling electroacoustic structures, and moody ambiences, collectively bridging the distance between O’Rourke\'s experimental work and his deft hand in the realms of pop. As absolutely brilliant as they come. On the occasion of the release of “Hands That Bind” we are glad to announce a promotional sale with 15% off for members and 10% off for everybody on all available Drag CIty items, valid until Sunday at midnight or while stocks last. The endlessly fruitful relationship between Jim O’Rourke and the Chicago based imprint, Drag City, traverses the better part of the last thirty years, with the label providing platform and support for one the great musical voices of our age. Beginning with his band Gastr del Sol\'s seminal second LP, “Crookt, Crackt, or Fly”, and running through his legendary suite of pop masterstrokes, - “Bad Timing”, “Eureka”, “Halfway to a Threeway”, and “Insignificance” - his involvement with projects like Loose Fur, The Red Krayola, and Mimidokodesuka, and a great deal more, his output with Drag City is a truly remarkable thing to behold, providing a snapshot into a restless creative mind within a collective body of intoxicating sounds. His last, 2015\'s “Simple Songs” build on the instrumental trajectory established by its predecessor, “The Visitor” (2009), but his latest, “Hands That Bind”, however, charts a new, surprising path. Composed as the soundtrack for the director Kyle Armstrong’s 2021 film of the same name, the album’s subtle melodic elements, played against bristling electroacoustic structures, bridge the distance between his more experimental work, largely housed in recent years on his own Steamroom imprint, and the pop-oriented work historically located on Drag City. Absolutely stunning from its first sounding to the last, “Hands That Bind” is yet another creative milestone from Jim O’Rourke that’s impossible to get off the turntable once the needle drops. Ten out of ten and not to be missed! Jim O’Rourke is among the great voices of his generation. He is a true musical polymath, whose diverse efforts, since his emergence within the Chicago scene during the late 1980s, have continuously altered the creative landscape. Across more than a hundred albums, he has carved a relentless path, refusing conceptual stasis and the boundaries of genre and idiom, producing a body of work with such a profound impact and influence, that is so striking, forward-thinking, and important - while displaying a consistently unparalleled bar of quality - that it transcends the basic notions of art; becoming a network of sound, mirroring the pathways of an endlessly curious and uninhibited mind. O’Rourke’s music is thought unfolding in real time. Unbridled creativity in pursuit of the unknown. Since his move to Japan during the late 2000s, O’Rourke’s recorded works have generally veered toward two polarities - direct, jointly billed, conversant collaborations with peers like Haino Keiji, Peter Brötzmann, Oren Ambarchi, Giovanni Di Domenico, Mats Gustafsson, Akira Sakata, Kassel Jaeger, and Fennesz, among numerous other, and privately created solo efforts falling under the banner of Steamroom - increasingly only issued as direct digital downloads. There has, however, been another body of work rumbling below the surface that has yet to receive a single proper release. Over the last few decades, O’Rourke has been composing several dozen film soundtracks for widely celebrated filmmakers like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu. At long last, this mysterious area of the artist’s creative explorations begins to be more accessible with the release of “Hands That Bind”, composed for the director Kyle Armstrong’s 2021 film of the same name and his first film soundtrack to receive a proper release. Anyone who knows much about O’Rourke is aware of his deep passion for film. Since his teens on the outskirts of Chicago, he has remained a devoted cinephile, which naturally, being the person and artist that he is, has cultivated an intimate understanding of the place and operation of music within the idiom. Any doubts to this end will be quickly laid to rest by the profound beauty and subtlety of “Hands That Bind”, composed for a “slow-burn prairie gothic drama” set in the farm-land of Canada’s Alberta province, that stars Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, within which a series of mysterious, often supernatural occurrences, rock the small community. Into these narratives and happening, O’Rourke composed eight sublime musical complements ranging from moody and atmospheric electroacoustic marvels that interweave long-tones and textural elements, drawn from diverse resonant sources, to more explicitly musically melodic and percussive pieces like “A Man\'s Mind Will Play Tricks On Him” and “One Way or Another I\'m Gone”, that return the ear to O’Rourke’s roots in post-rock and jazz. Joined collectively, these works evolve at glacial pace into a freestanding journey of startling proportions, building bridges within a single structure across the versatility and range that the artist has historically reserved for more discreetly located works, notably his poppier efforts for Drag City, and his more experimental works released on Steemroom. Immersive and intoxicating, while displaying an understated elegance that only O’Rourke is capable of, whether regarded as a complement to moving image or a freestanding musical gesture, “Hands That Bind” is an absolute musical masterstroke of unparalleled brilliance, building on his long history of tape collage to construct a profoundly sophisticated assembly of found-and-processed sounds into orchestral majesty. Issued by Drag City as a beautifully produced LP, this is O’Rourke at his best. Ten out of ten and impossible to recommend enough. [Soundohm + press release ]