There’s no Rob mention, but I thought I would post a couple of extracts to give us a feel for what to possibly expect for High Life.  From The Playlist:

“Stuart A. Staples has been making music as part of Tindersticks for 25 years. The band, in a couple different incarnations, has created not only its own records, but six scores for films by Claire Denis, with a seventh to be written for the director later this year for her upcoming “High Life.”

…

Is this project at all like working on film scores with Claire Denis?
There’s a process…. working with Claire, it’s not a machine, it’s a feeling. It gets a little more intense every day, and that’s an exciting thing to be involved in. Claire’s films have always asked us to look in different areas of our music, and that’s fed back into how we approach our own music. It’s a big part of that thing we were talking about — it’s 25 years on, but we’re still in the stage of a feeling of discovery, and working with Claire has a lot to do with that.

…

Was the score for “Bastards,” which was very much electronic, a direct pointer to this record?
Maybe, but working on “White Material” really helped. That one asked us to really mess with forms and structures of ideas. That fed into this album. There’s always something with Claire in the way she talks about an idea more than what’s in the script or what’s on the set. That is the most inspiring thing. When we worked on “Trouble Every Day,” for instance, if you just read the script or if someone described the action, you would take it one way, as a thing leaning on horror or gore, maybe as an erotic gore film. But all the time of writing that work, as Claire’s talking, she described what she was really interested in as all about kissing, why lovers want to bite each other. That’s the only thing she’s really interested in with that film. So we start from this point, a kind of romanticism, and it runs all the way through the progression of the idea, and you end up with this really strong thing. It’s a gift, really, making this romantic score for a quite tough movie, one that is difficult in parts.

So, that moment of inspiration with “Bastards”: Claire was interested in the idea of a sailor on dry land. When a sailor is at sea his life is totally straightforward. He has his duties, he’s dealing with very specific things. As soon as he steps on dry land, the worst things can possibly happen to him. Starting from that point, I felt as though it was about making an alien soundscape to be around him, even though he’s in the streets of Paris. To do that, I decided to start from a point of music that was alien to me, and electronic music was that thing I didn’t really know how to do. To start from one point of something with instruments of machines you don’t really know how to operate, and then three months later you’ve found your relationship to them and found a strange space between you and the music. That feeds into the film itself. There’s always something like that working with Claire. You learn so much. And then those soundtracks feed into other things.

Has it always been that way, working with Claire? 
I think she has a very specific, very unique way with image. Even now — when we worked on “Nénette et Boni,” it was our first one, it was the first time we met Claire. All the time we were doing it, I was thinking “is this working?” I was so insecure about it that I didn’t actually enjoy it so much.

A few years ago, when we were putting together the soundtrack show, we worked with that material again, and without all the insecurity, without the fears of being too late, too loud, too early, it was revelatory. It’s like “wow, that’s a piece of work!” Looking back, it had to be, but at the same time we never got to have the chance to sit back and enjoy it as something that was really worthwhile. I’m not the only person in that way; films like “Nénette et Boni,” “Trouble Every Day,” “Beau Travail,” they’re getting to be 20 years old now, and they’re not going away. People are discovering them and enjoying them now. It’s really satisfying.”

Click on the link to read the full article.