Jerskin Fendrix – Kinds Of Kindness: Original Motion Picture Soundtrack (Vinyl, LP, Album, Picture Disc)

KINDS OF KINDNESS is a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing-at-sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader.

The album reunites Fendrix with director Yorgos Lanthimos following the breakout success of Poor Things, which earned the first-time composer an Oscar nomination and marked Lanthimos' first-ever collaboration with a composer.

For Kinds of Kindness, Fendrix has crafted a soundscape rooted in solo piano and choral music, peppering the 22-track collection with hymnals throughout. Rounding out the soundtrack album are pop tracks like Cobrah's "Brand New Bitch" and Eurythmics' "Sweet Dreams (Are Made of This)," both of which were featured in the film's trailers, plus a cover of "How Deep Is Your Love" by film star Margaret Qualley as well as a demo from Fendrix's personal discography.

Similar to Poor Things, Fendrix began working on Kinds of Kindness with relatively few materials, utilizing only the film's script, black and white photographs from set, and conversations with Lanthimos as a guide.

This time around, however, Lanthimos provided Fendrix with specific guidance on instrumentation, instructing the composer to craft a soundscape rooted in piano and choral music.

Also helpful to Fendrix at the start of the project was a conversation with Kinds of Kindness star Jesse Plemons, who helped the composer wrap his mind around the complexity of Lanthimos' triptych story.

"I was very lucky to go on set at the very beginning of filming, and I asked Jesse about the emotions because I was struggling to understand where so many of these characters were coming from," composer Jerskin Fendrix confesses. "He spoke to me about his interpretation, and how he planned to embody his characters, which was great. I ended up thinking about the abstract space between the emotions and whether that space was empty or noisy. From there, I utilized the piano and choir to explore those spaces."

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