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JIM JARMUSCH & ANIKA
Father Mother Sister Brother (Original Music From The Film)(Sacred Bones)
Add date: 11.18.2025
Release date: 11.14.2025
Links:
Apple Music
Bandcamp
Instagram (Anika)
Instagram (Jim Jarmusch)
Sacred Bones
Spotify
Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance. "I loved her live set and her band, and have been a fan of her recordings since her first album Anika from 2010," he recalls. “I suppose two weirdos gravitated towards each other.” Anika adds, “I looked up to Jim as a mentor figure, someone who had been in the game for so long, stayed weird, and never seemed to compromise on his vision.” This mutual admiration sparked a friendship, which quickly evolved into a creative collaboration. They exchanged thoughts and ideas and eventually shared vocals on the track "I Don’t Wanna Talk About It" from SQÜRL’s album Silver Haze in 2023.
This fruitful exchange would eventually lead to the creation of the haunting and ethereal soundtrack to Jarmusch’s latest film Father Mother Sister Brother, one that reflects the unique musical partnership between filmmaker Jim Jarmusch and artist Anika.
Jim first invited Anika to record a cover of Jackson Browne’s "These Days," inspired by Nico’s iconic version. At the time, Anika was already deep into recording her latest album Abyss. "I love challenges, especially when my timetable is already stacked," Anika says, reflecting on the request, “and also the challenge of facing my ultimate fear (the ghost of Nico).” This fully arranged track prepared by Anika and featuring the Kaleidoskop ensemble string quartet was recorded in Berlin with Jim present and appears as a bonus track on the album as “These Days (Berlin Version)”. Jim returned to New York and also mixed down a more spare version of “These Days”, adding several electric guitar tracks which he played. This is the version that appears in the film as Jim felt the more minimal approach was closer to the style of the film.
While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s version of “Spooky.” Anika, happy to hear of their shared love of Dusty's version, suggested they also cover it, having even performed a live version herself in the past. This arrangement was eventually stripped back to just her vocals, upright bass, finger snaps, and a brief distorted organ riff. The new and sparsely beautiful cover of "Spooky" eventually was, at Anika’s suggestion, placed under the opening credits, becoming the film’s musical introduction.
But it wasn’t just these covers that defined their collaboration - the rest of the music for Father Mother Sister Brother was born out of improvisation. “Anika and I spent some hours just improvising together instrumentally, and the results were very inspiring,” Jim recalls. These sessions led to a second round of recordings in Berlin, with Anika playing Wurlitzer and electric guitar and Jim contributing affected & looped electric guitars. Upon returning to New York, Jim shaped these unique recordings into the short instrumental pieces that then became the score for the film.
Recording sessions in Berlin took place at Brewery Studio, where most of the instrumental work was laid down. Jim’s additional electric guitar tracks were recorded at Jim’s studio, Dept. of Redundancy Dept., in upstate New York. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.
For Jim, crafting the soundtrack for Father Mother Sister Brother was in some ways a departure from his previous work. Unlike his earlier film, Paterson, which featured a score created in collaboration with Carter Logan as SQÜRL, the music for Father Mother Sister Brother was not meant to center around or define a single character. “The music is more atmospheric, like the air invisibly surrounding the characters,” he explains.
Anika, too, reflects on the creative process as something distinct: “We didn’t really talk about anything during these sessions, just talked through this weird kind of jamming language. It was very sweet and innocent, actually.” She adds, "I think we are both kids in many ways and that meant we could explore quite freely" Jim echoes this sentiment: “I’m very happy with the results and with this musical collaboration.”
Apple Music
Bandcamp
Instagram (Anika)
Instagram (Jim Jarmusch)
Sacred Bones
Spotify
Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance. "I loved her live set and her band, and have been a fan of her recordings since her first album Anika from 2010," he recalls. “I suppose two weirdos gravitated towards each other.” Anika adds, “I looked up to Jim as a mentor figure, someone who had been in the game for so long, stayed weird, and never seemed to compromise on his vision.” This mutual admiration sparked a friendship, which quickly evolved into a creative collaboration. They exchanged thoughts and ideas and eventually shared vocals on the track "I Don’t Wanna Talk About It" from SQÜRL’s album Silver Haze in 2023.
This fruitful exchange would eventually lead to the creation of the haunting and ethereal soundtrack to Jarmusch’s latest film Father Mother Sister Brother, one that reflects the unique musical partnership between filmmaker Jim Jarmusch and artist Anika.
Jim first invited Anika to record a cover of Jackson Browne’s "These Days," inspired by Nico’s iconic version. At the time, Anika was already deep into recording her latest album Abyss. "I love challenges, especially when my timetable is already stacked," Anika says, reflecting on the request, “and also the challenge of facing my ultimate fear (the ghost of Nico).” This fully arranged track prepared by Anika and featuring the Kaleidoskop ensemble string quartet was recorded in Berlin with Jim present and appears as a bonus track on the album as “These Days (Berlin Version)”. Jim returned to New York and also mixed down a more spare version of “These Days”, adding several electric guitar tracks which he played. This is the version that appears in the film as Jim felt the more minimal approach was closer to the style of the film.
While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s version of “Spooky.” Anika, happy to hear of their shared love of Dusty's version, suggested they also cover it, having even performed a live version herself in the past. This arrangement was eventually stripped back to just her vocals, upright bass, finger snaps, and a brief distorted organ riff. The new and sparsely beautiful cover of "Spooky" eventually was, at Anika’s suggestion, placed under the opening credits, becoming the film’s musical introduction.
But it wasn’t just these covers that defined their collaboration - the rest of the music for Father Mother Sister Brother was born out of improvisation. “Anika and I spent some hours just improvising together instrumentally, and the results were very inspiring,” Jim recalls. These sessions led to a second round of recordings in Berlin, with Anika playing Wurlitzer and electric guitar and Jim contributing affected & looped electric guitars. Upon returning to New York, Jim shaped these unique recordings into the short instrumental pieces that then became the score for the film.
Recording sessions in Berlin took place at Brewery Studio, where most of the instrumental work was laid down. Jim’s additional electric guitar tracks were recorded at Jim’s studio, Dept. of Redundancy Dept., in upstate New York. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.
For Jim, crafting the soundtrack for Father Mother Sister Brother was in some ways a departure from his previous work. Unlike his earlier film, Paterson, which featured a score created in collaboration with Carter Logan as SQÜRL, the music for Father Mother Sister Brother was not meant to center around or define a single character. “The music is more atmospheric, like the air invisibly surrounding the characters,” he explains.
Anika, too, reflects on the creative process as something distinct: “We didn’t really talk about anything during these sessions, just talked through this weird kind of jamming language. It was very sweet and innocent, actually.” She adds, "I think we are both kids in many ways and that meant we could explore quite freely" Jim echoes this sentiment: “I’m very happy with the results and with this musical collaboration.”