Von der Musikerin heißt es: “Die Cellostücke entstanden aus dem Wunsch, wieder eine Verbindung zu dem Instrument herzustellen, das ich seit meiner Kindheit so gut kenne. Ich musste jedoch zwei Jahre Abstand nehmen, um eine neue Perspektive zu gewinnen und frische Ansätze zu finden”. Sie beschreibt “Iskra” als ein Werk über den Funken der Erneuerung: “Das Album handelt von Zündung — einem allmählichen Wandel in meiner Art, über Musik nachzudenken, und einer Suche nach neuen Werten. Es markiert auch das Ende eines Kapitels, indem es Archivaufnahmen mit dem Aufbruch zu neuen Ideen vereint”.

Zwischen 2017 und 2022 an verschiedenen Orten und zu unterschiedlichen Zeiten aufgenommen, verkörpert “Iskra” ein stark persönlich gefärbtes Statement, in welchem laut Begleittext die Themen Identität, Erinnerung an Orte und die Beziehung des Menschen zur Natur die wichtigsten roten Fäden bilden. Das Album erscheint n einer roten Vinyl-Edition und ist auch digital erhältlich.

Foto: Kamil Sesin

“The undefinable Kaboom Karavan returns to the dusty Belgian roads with a total Fiasko! – or a full blown disaster if you will (seen from a minimalist perspective), although one that might be the antidote to the sterilised and scattered world that increasingly surrounds us. Fiasko! represents a musical chaos that feels both ecstatic, fun, as well as deeply melancholic. Like an overwhelming moment where the world seems to touch you on all senses. This is music for a new underground of black tie workers raising up to the dullness of societal norms by connecting to their inner child. It’s protest music towards the new normal, where the rules are thrown out of the window and unpredictable sense of joy prevails. Shortly said, Fiasko! is contemporary exotica made by a madman with too much time on his hands”. (Miasmah) 

“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)