Development
The film score is jointly written and composed by Jarmusch and Anika, who previously collaborated on the 15th anniversary show of Sacred Bones Records during late-2002. [1] The film is also Jarmusch's maiden scoring assignment after leading the SQÜRL band which had composed music for Only Lovers Left Alive (2013) and The Dead Don't Die (2019). Jarmusch contacted Anika during late-2024, when she was working on her studio albums, and asked her to compose few songs. [2] [3]
When Jarmusch was filming in Paris, Anika met him and provided a few arrangements of classical ensemble and string ensembles she worked in Berlin. [4] Together they worked on the arrangements of a few tracks during the brief interval, where she would work on her solo projects and returned back in a few weeks, to continue on arranging the score, as well as playing guitars and synthesizers. Anika said that she worked on a "load more stuff" and ended up playing synthesizers and guitar with Jarmusch providing feedback. Anika also used the Wurlitzer electronic musical equipment for working on the score. [2]
Since Anika had not scored a film before, she felt working on Father Mother Sister Brother, was an interesting experience, as she had not witnessed the picture and no idea about the film's script. She recalled on Jarmusch not wanting a musical score for the film but kind of "music, not non-music" as the brief she was provided, which led her to write a sparse and gentle score that accompanied the film. [4]
Besides the score, they recorded cover versions of Jackson Browne and Nico's duet "These Days" and Dusty Springfield's "Spooky". [2]
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