Chords for Jóhann Jóhannsson & Yair Elazar Glotman - Last and First Men OST (Trailer)

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_ _ Listen [C] patiently. _ _
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[G] _ We who are the last men [C] earnestly desire to communicate with you.
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_ [Am] I think Last and First Men is a unique [Gb] project where Jan managed to create [F] a world that has its own aesthetics. _
[Am] _ _ _ _ It doesn't have one singular [F] kind of meaning, rather a very specific emotion and atmosphere which you kind of get [D] captivated by.
[Gb] And I think [D] it's broad enough and rich enough [Gb] that everyone could kind of follow a single element or make their own connections
and [E] basically [Am] have their own experience [Gbm] and see something new [Am] every time you kind of watch it. _ _ _ _ _ _ _
[G] The way I experience this project is a bit like a three-line [D] counterpoint in [Am] which each different line [C] supports the other
but could also be perceived as one single line where you could follow.
_ The [Gb] three main threads are the narration by Tilda [C] Swinton of Last and First [Am] Men, which is a sci-fi book by [A] Olaf Stapledon, _ [D] which was written in [A] 1930.
_ The [Gb] second thread would be the Eastern [A] European [D] brutalistic monuments, [G] which was shot [E] beautifully by Sturla.
And the third one [A] is the score itself, the music, [Gb] which feels like its own character.
It has its own physical [A] almost entity.
The [E] physical quality of the music kind of resembles a lot of the materiality of the film.
The fact [Am] that Jan chose to shoot [F] this film on [A] 16mm _ _
[E] has [Gb] to do with the idea of time [E] and [C] the kind [Gbm] of ambiguity of time and space.
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_ _ _ _ Last and [F] First Men is a film about [Ebm] humanity.
Even though you don't really see any [Gb] human being on screen, [Bbm] you could really well feel the presence of them,
whether it [Ebm] be from the man-made sculptures of the monuments, whether it be [Gb] the narrative and Tilda Swinton narration,
[C] whether it be the music by its almost like [Db] tactile presence and [Bbm] _ [F] the imperfection and the rawness of the sound, which [Gb] clearly also is human [Ebm]-made.
The [G] most important element, I guess, is [Bbm] the human voice, which is something that is so recognizable.
[Ebm] In this project we had _ [Gb] the chance to work with Jan's [F] close collaborator, _ Robert Aiki, Aubrey Low, Hildur Guttner [Ebm]-Dottir and [Eb] Theatre Voices. _ _ _
[Bbm] Working with them was also meaning [Gm] that we could create [Gb] some more abstraction in the [Eb] human voice and transform [Gb] it and kind of strip it down a [Bb] bit,
kind of losing its [Gb] context, whether it be the culture reference, whether it [Bb] be language, and sometimes even it's hard [Bbm] to kind of [Gb] know the gender of [C] the singer. _
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[C] Jan's [D] music was very complex.
[Cm] There was not [G] one way that it could be perceived.
I think [Gb] he talked to many people in various [Gm] different levels and [G] the thing that kind of resonated with [D] me and I appreciated that Jan managed [G] to kind of have
[G] sometimes complex or new ideas conveyed in a very straightforward way, a way that kind of spoke directly to someone's experience and [Ab] emotion.
The thing that was really [Gb] interesting for me to observe and [F] understand, [G] which is, I would say, pretty unique as a composer, is depending heavily on collaborations.
Jan was almost like a [Gb] curator as he was [G] a composer and he was curating _ an amazing group of people and he knew how to create a situation in which [Gb] he brought people together
to create something totally [G] unique. _
[D] I think that was also his strength and [G] sometimes kind of [Gb] different from what people perceive a composer is,
this [C] idea of, this [D] romantic notion of like [G] an isolated composer sitting with a pen and paper and a piano, kind of expressing themselves.
I think [Eb] that was much more of a collaborative [B] effort and he embraced that.
_ Personally, _
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_ _ _ [Gb] what the project means to me is very [B] emotional _ and it was a very hard [Fm] task to take on.
I [Abm] feel like it's [Ebm] been a whole process where I kind of [Ab] figure out how [B] to express my voice within this project and [Eb] how to deal with his absence.
But the main [B] kind of incentive, the main kind of goal was to finish it out of respect. _
[Ebm] _ _ [Eb] _ _ _ _ [Db] I think [Abm] this whole obstruction and game of [Bb] ambiguity throughout the film creates a lot [Ebm] of this, I call that, beyond time feeling.
You can't [Gb] really put your finger when this project was made where [B] it feels like it could be [Ab] made in the past and might as well be made in the future.
I think that's the [Abm] unique [Eb] kind of character and quality of the film that it's just almost _ otherworldly. _
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The [Eb] whole duration of humanity, its evolution and [B] many successive species, _ is but a flash in the lifetime of the cosmos.
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