Schächten
Erik K Skodvin
Schächten
Boomkat Product Review:
Masterfully brooding and affective soundtrack by Miasmah overse’er Erik Skodvin (Deaf Center/Svarte Greiner) for Thomas Roth’s thriller set in post WWII ’60s Vienna - his first solo work in years and seemingly one he’s worked toward for over a decade.
‘Schächten’ matches the mood of a film following a young Jewish businessman in Vienna who witnesses the failure to prosecute a Nazi crime against his family. The film, which premiered at the San Francisco Jewish film festival in August ’22, and is currently touring jewish film festivals around the world, deals with a long shadow of fascism and antisemitsim in central Europe which is still present today.
The film’s theme and feel surely benefits from the shadowing of Erik K Skodvin’s soundtrack; here presented as 24 succinct cues of strings and electronics that tile to a standalone release in its right. We’re quite familiar with Skodvin’s various aliases since his classic start with Deaf Center on Type in 2005, thru his steady stream of work under his own name since 2010’s ‘Flare’, but we’ve never heard his music quite so intently stark and seething as on ‘Schächten’, which also makes critical use of percussion by his longtime B/B/S/ collaborator Andrea Belfi, and a Chopin piano interpretation by Kelly Wyse that fades to pure bleakness in ‘Judenfreund’, that evoke a palpable sense of distress and depth of pathos whether one knows about the film’s content or not.
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Boomkat Product Review:
Masterfully brooding and affective soundtrack by Miasmah overse’er Erik Skodvin (Deaf Center/Svarte Greiner) for Thomas Roth’s thriller set in post WWII ’60s Vienna - his first solo work in years and seemingly one he’s worked toward for over a decade.
‘Schächten’ matches the mood of a film following a young Jewish businessman in Vienna who witnesses the failure to prosecute a Nazi crime against his family. The film, which premiered at the San Francisco Jewish film festival in August ’22, and is currently touring jewish film festivals around the world, deals with a long shadow of fascism and antisemitsim in central Europe which is still present today.
The film’s theme and feel surely benefits from the shadowing of Erik K Skodvin’s soundtrack; here presented as 24 succinct cues of strings and electronics that tile to a standalone release in its right. We’re quite familiar with Skodvin’s various aliases since his classic start with Deaf Center on Type in 2005, thru his steady stream of work under his own name since 2010’s ‘Flare’, but we’ve never heard his music quite so intently stark and seething as on ‘Schächten’, which also makes critical use of percussion by his longtime B/B/S/ collaborator Andrea Belfi, and a Chopin piano interpretation by Kelly Wyse that fades to pure bleakness in ‘Judenfreund’, that evoke a palpable sense of distress and depth of pathos whether one knows about the film’s content or not.
Boomkat Product Review:
Masterfully brooding and affective soundtrack by Miasmah overse’er Erik Skodvin (Deaf Center/Svarte Greiner) for Thomas Roth’s thriller set in post WWII ’60s Vienna - his first solo work in years and seemingly one he’s worked toward for over a decade.
‘Schächten’ matches the mood of a film following a young Jewish businessman in Vienna who witnesses the failure to prosecute a Nazi crime against his family. The film, which premiered at the San Francisco Jewish film festival in August ’22, and is currently touring jewish film festivals around the world, deals with a long shadow of fascism and antisemitsim in central Europe which is still present today.
The film’s theme and feel surely benefits from the shadowing of Erik K Skodvin’s soundtrack; here presented as 24 succinct cues of strings and electronics that tile to a standalone release in its right. We’re quite familiar with Skodvin’s various aliases since his classic start with Deaf Center on Type in 2005, thru his steady stream of work under his own name since 2010’s ‘Flare’, but we’ve never heard his music quite so intently stark and seething as on ‘Schächten’, which also makes critical use of percussion by his longtime B/B/S/ collaborator Andrea Belfi, and a Chopin piano interpretation by Kelly Wyse that fades to pure bleakness in ‘Judenfreund’, that evoke a palpable sense of distress and depth of pathos whether one knows about the film’s content or not.
Boomkat Product Review:
Masterfully brooding and affective soundtrack by Miasmah overse’er Erik Skodvin (Deaf Center/Svarte Greiner) for Thomas Roth’s thriller set in post WWII ’60s Vienna - his first solo work in years and seemingly one he’s worked toward for over a decade.
‘Schächten’ matches the mood of a film following a young Jewish businessman in Vienna who witnesses the failure to prosecute a Nazi crime against his family. The film, which premiered at the San Francisco Jewish film festival in August ’22, and is currently touring jewish film festivals around the world, deals with a long shadow of fascism and antisemitsim in central Europe which is still present today.
The film’s theme and feel surely benefits from the shadowing of Erik K Skodvin’s soundtrack; here presented as 24 succinct cues of strings and electronics that tile to a standalone release in its right. We’re quite familiar with Skodvin’s various aliases since his classic start with Deaf Center on Type in 2005, thru his steady stream of work under his own name since 2010’s ‘Flare’, but we’ve never heard his music quite so intently stark and seething as on ‘Schächten’, which also makes critical use of percussion by his longtime B/B/S/ collaborator Andrea Belfi, and a Chopin piano interpretation by Kelly Wyse that fades to pure bleakness in ‘Judenfreund’, that evoke a palpable sense of distress and depth of pathos whether one knows about the film’s content or not.
Limited edition of 300 copies. Includes printed inner sleeve.
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Boomkat Product Review:
Masterfully brooding and affective soundtrack by Miasmah overse’er Erik Skodvin (Deaf Center/Svarte Greiner) for Thomas Roth’s thriller set in post WWII ’60s Vienna - his first solo work in years and seemingly one he’s worked toward for over a decade.
‘Schächten’ matches the mood of a film following a young Jewish businessman in Vienna who witnesses the failure to prosecute a Nazi crime against his family. The film, which premiered at the San Francisco Jewish film festival in August ’22, and is currently touring jewish film festivals around the world, deals with a long shadow of fascism and antisemitsim in central Europe which is still present today.
The film’s theme and feel surely benefits from the shadowing of Erik K Skodvin’s soundtrack; here presented as 24 succinct cues of strings and electronics that tile to a standalone release in its right. We’re quite familiar with Skodvin’s various aliases since his classic start with Deaf Center on Type in 2005, thru his steady stream of work under his own name since 2010’s ‘Flare’, but we’ve never heard his music quite so intently stark and seething as on ‘Schächten’, which also makes critical use of percussion by his longtime B/B/S/ collaborator Andrea Belfi, and a Chopin piano interpretation by Kelly Wyse that fades to pure bleakness in ‘Judenfreund’, that evoke a palpable sense of distress and depth of pathos whether one knows about the film’s content or not.
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