Spaceman (Original Motion Picture Soundtrack) Max Richter

• 1In The Sleeping Chamber (From "Spaceman" Soundtrack)03:09
• 2A Message (From "Spaceman" Soundtrack)01:21
• 3Interference? (From "Spaceman" Soundtrack)04:39
• 4Hearing Voices 1 (Movement Study Edit 1 / From "Spaceman" Soundtrack)02:42
• 5Dormium (From "Spaceman" Soundtrack)03:21
• 6The Listening Cosmos (From "Spaceman" Soundtrack)04:48
• 7Hearing Voices 2 (Movement Study Edit 2 / From "Spaceman" Soundtrack)02:46
• 8It’s 99.999% Effective! (From "Spaceman" Soundtrack)04:02
• 9Memory Is A Voyager (From "Spaceman" Soundtrack)02:57
• 10Your Loneliness (From "Spaceman" Soundtrack)08:11
• 11Lenka Lament (From "Spaceman" Soundtrack)02:56
• 12Distance And Time (From "Spaceman" Soundtrack)04:05
• 13Hearing Voices 3 (Movement Study Edit 3 / From "Spaceman" Soundtrack)03:20
• 14The Chopra Cloud (From "Spaceman" Soundtrack)04:16
• 15The Dark Backward And Abysm Of Time (From "Spaceman" Soundtrack)06:49
• 16Reflected In Her Eyes (From "Spaceman" Soundtrack)06:42
• 17Don't Go Away (From "Spaceman" Soundtrack)07:11
• Total Runtime01:13:15

Info for Spaceman (Original Motion Picture Soundtrack)

Max Richter had a particular puzzle to solve as he was creating the film’s evocative score. How do you capture the emotional disparities of an intimate love story cast in the vast expanse of space?

“The visual language of the film really informs your musical decisions,” says the celebrated post-minimalist composer, whose film credits include Ad Astra and Mary Queen of Scots, among many others. “The visual texture, the way the light is, and the haptics of the images really tell me a lot about how the music should feel.”

To that end, Richter experimented with striking a balance between retro electronic textures and luminous orchestral flourishes.

“The score’s palette is kind of 1970s-period electronics that have been treated with ’70s effects – recorded on tape as they would have been recorded back then,” he says. “And then we have acoustic instrumentation that is mostly strings, some piano, and the strings we’ve done in two layers: a very closely mic-ed, intimate sound and also big-picture strings.”

That elusive dynamic between moments loud and soft, big and small, expanded director Johan Renck’s original vision for the score.

“I wanted the music to have this slightly peculiar, not-made-by-human-hands, ’70s sci-fi kind of vibe,” Renck says. “But on the other hand, Max was key to finding some of the melodic beauty in the score, which I came to love. If you would've asked me in the beginning of the scoring journey if I would've wanted to have that, I would've said, ‘No, we're going to create weird music and sounds that are in the realm between sound design and score.’

“I'm so thankful that Max added that extra layer,” he says. “He did bring all the mysterious, strange stuff, but then he also brought these big, beautiful melodic transpositions that give me goosebumps every time I hear them.”

"Spaceman" is a 2024 American science fiction drama film directed by Johan Renck and written by Colby Day. It is based on the 2017 novel Spaceman of Bohemia by Jaroslav Kalfař. Starring Adam Sandler, Carey Mulligan, Kunal Nayyar, Isabella Rossellini and Paul Dano, it follows an astronaut sent on a mission to the edge of the solar system who encounters a creature that helps him put his earthly problems back together.

Max Richter
The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.

Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.

Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.

Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).

Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.

Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects.

This album contains no booklet.