Chords for Atticus Ross | The Sound of Almost Holy

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_ I felt [E] varying degrees of insecurity around, you know, musicianship because I
didn't grow [N] up as a kind of virtuoso and like every teenager I played an
[E] instrument in a band for a bit, you know, that didn't [Em] capture my obsession [Eb] and
when I went into a recording studio [Cm] I had that same [Am] feeling that I think
people who fall in love with an instrument [A] do.
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[Am] _ One of the things that
I've always [A] been interested in and continue to be [Em] interested in beyond
[Gb] composition or [F] a way of putting music together _ _ is [Am] the nature of sound itself
and the landscape that something sits [Em] in I think can dramatically alter the
[E] emotional reflex [Am] to what you're hearing [Gb] and I think with a film the idea of
giving a unique [Eb] identity sonically [Dm] is part of the [E] job of the composer. _
The piece that we've been [Em] working on is [Gb] something that I wrote [G] with my brother
for a documentary and this particular film is about how while we celebrated
you know at the end of [Bb] the Cold War what happened in Russia was regionally the
infrastructure totally collapsed [F] and what's happened is this army of lost
children [Fm] have developed [Gb] and in the midst of this dreadfulness [Ab] is this guy Gennady
and you know he [F] has taken it on himself to save [C] these children [Fm] you know it
affects you in a way you know where [Gb] I've been [Abm] very lucky [Db] and you know getting the
[Ab] opportunity to work on this you know that without sounding [Eb] too grandiose [A] it
is a way to give [Am] back a little little bit towards something that I think is
important.
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[Bbm] When the System 55 [Bb] arrived we were [Abm] working on a [B] piece that's like a
moment of reflection [Bb] and it was [Bbm] about finding a progression that [Dbm] continues to
kind [Gb] of build and then there's a release which I think [Bbm] it was finding the sound
of Gennady. _ _
[G] What we did in the actual piece is record several layers of it.
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_ _ _ _ _ What could be noise to one person is not another. _ _ _
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_ You [D] can look at it in two different ways.
Some people [A] feel I think they build the [Am] house _ and
then the music is [F] kind of like a coat of paint on the walls and then [D] other people
_ allow you [E] to be part of the foundation of the film part of the DNA of it and
for those [Dm] people who want the music to be a character I think something like a
_ [Am] modulus in thought or anything that you can really sculpt the sound is [F] important
because [E] you're [A] trying or one is [D] trying to create a world that [E] is unique to that
particular story and it's really [Dm] about how you approach it [D] to my mind and how
you put things together and [A] you know it's ideas that count I [Am] think at the end
of the day
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