Auf Miasmah Recordings erscheint am 9. Dezember Erik K Skodvins Soundtrack zu Thomas Roths früher im jahr erschienenem Spielfilm Schächten. Der Film mit Jeff Wildbusch, Paulus Manker und Miriam Fussenegger in den Hauptrollen ist eine Art historisches Rachedrama und spielt im Wien der zweiten Hälfte des 20. jahrhunderts. “In the late 1960s, when the young Jewish businessman’s son Victor Dessauer fails to secure just punishment for the Nazi concentration camp commandant who tortured his parents, he resolves to take the law into his own hands”, heißt es auf der IMDb-Seite des Films. Neben der spannungsvollen Handlung berührt der Film zahlreiche sensible historische Themen der Nachkriegsjahrzehnte, so z.B. den Einfluss früherer Nazigrößen in Politik und Justiz. Der Soundtrack, an dem Andrea Belfi (Percussion) und Kelly Wyse (Piano) mitwirken, ist in 24 Abschnitte geteilt, die oft ihre ganz eigenen dunklen Spannungsbögen und ihre jeweiligen dramatischen Höhepunkte aufweisen. Das Album erscheint auf LP und digital.

“Releasing a soundtrack as a stand-alone album can be challenging; and Schächten is by no means a typical listening experience. The record contains 24 more or less short pieces evolving through dramatic movements, underlaying menace and deep emotive scenes. One thing that stands out is the linear atmosphere throughout the story which creates a wholeness that keeps your attention to the very end. Set in wintery Austrian landscapes in dimly saturated colours, the film’s dramatic events with dark political undertones feels like a perfect situation for Skodvin’s atmospheric collages – perhaps sounding closer than ever to his early works as Svarte Greiner or Deaf Center. Cello, violin, piano, analogue synth and plenty of hardly recognisable instrumentation come together in a record that feels very organic in its subdued tones. The score also features percussion by Andrea Belfi as well as a Chopin piano interpretation by Kelly Wyse to the bizarrely schizophrenic piece “Judenfreund“.

With the contemporary world sliding into darkness again, listening to the soundtrack feels like coming to terms with ones own anxieties – something that in the end comes through as a cleansing experience. As quoted in the film ‘Everyone is their own devil. And we make this world our hell’.” (Miasmah)