The LP format is expected into stock on 20th April 2018
Vinyl version available as double LPs on 140 gram heavyweight, high-performance vinyl.
Jonny Greenwood’s Golden Globe–nominated score to Paul Thomas Anderson’s new feature film, 'Phantom Thread'.
'Phantom Thread' is set in the glamour of 1950s post-war London, where renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the centre of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants, and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully-tailored life disrupted by love.
Robert Ames conducted the first live orchestral performance of the score with London Contemporary Orchestra in February 2018.
With 'Phantom Thread', Oscar-nominated filmmaker Paul Thomas Anderson paints an illuminating portrait both of an artist on a creative journey and the women who keep his world running. Phantom Thread is Anderson’s eighth movie, and his second collaboration with Daniel Day-Lewis. The film’s soundtrack includes eighteen compositions by Greenwood. It was recorded in London with a sixty-member string orchestra conducted by Robert Ziegler and is featured more prominently in the film than any of Greenwood’s scores have been before. In addition to the Golden Globe nomination, the Phantom Thread soundtrack’s many other accolades to date include the Best Score prizes from film critics’ associations in Boston, Chicago, Los Angeles, Phoenix, San Francisco, Seattle, and St. Louis.
Jonny Greenwood spoke to Variety about the process of creating a score that reflected the film’s romance and glamour:
“We talked a lot about ’50s music, what was popularly heard then as well as what was being written and recorded. Nelson Riddle and Glenn Gould’s Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections; Ben Webster made some good ones. The smaller groups, and solo players, work like close-ups [and] not necessarily to accompany [a] visual, but rather, to focus your attention on and make you feel directly engaged with the characters. The bigger orchestral things often worked best for drawing you back to see the bigger situation.”
- Phantom Thread I
- The Hem
- Sandalwood I
- The Tailor of Fitzrovia
- Boletus Felleus
- Phantom Thread II
- Catch Hold
- Never Cursed
- That’s as May Be
- Phantom Thread III
- I’ll Follow Tomorrow
- House of Woodcock
- Sandalwood II
- Barbara Rose
- Endless Superstition
- Phantom Thread IV
- For the Hungry Boy
- About Drift
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