Keyhole - Soundtrack

Tracks Composed by: Jason Staczek

Tracks Performed by: Elizabeth Ripley, Ela Lamblin, Martin Kuuskmann


1. Tituli
2. Sagitta
3. Venit Ulysses
4. Climae Hominis
5. Curabitur Imilitudo Bonorum
6. Clausis Foribus, Tot
7. Dissident Et Fines
8. Cum Aeger Sum Me Excusatum
9. Mane Mortuum Line
10. Dammun Erat Factum
11. Fellatus
12. Fusce Refoveo
13. Frictione In Eam Vellus
14. Ego Sum Aures
15. Aliquam Memoria Rubigo
16. An Unquam Remordeo Patris Tui?
17. Sex Iaculator
18. Coenaculum Somnium
19. Ingentem Horologium

About the Composer

Jason Staczek is a composer, keyboardist and record producer. His musical life began on piano and cello, but he became a lifelong student of the Hammond B- 3 organ. His keyboard playing appears on dozens of recording including albums by Lindsay Fuller, Ian Moore, and many Sub Pop artists. As a film composer, his work with Canadian director Guy Maddin has been called “swirling and adventurous” and “teasingly reminiscent of Philip Glass”. He has appeared on stage with Isabella Rossellini, Alanis Morissette and Geraldine Chaplin and has conducted orchestras on three continents.

He is an honorary member of the Seattle Experimental Animation Team and his work with them has appeared in venues and festivals around the globe. He tours with ATO recording artist Lindsay Fuller playing antiquated keyboard instruments: piano, organ accordion, and Mellotron. He is a voting member of the Recording Academy but has never actually voted.

Jason lives with his family on a small island in the Puget Sound. From his studio, the Pumpkin Palace, he writes and records music for film, television the internet and sometimes just listening. He is currently exploring the musical works of mystic G.I. Gurdjieff, adapting them for experimental instruments like the Shrimp Platter and Styrofoam harp known as The Koola. When pressed, he can speak Russian.

A Note From Guy Maddin

It’s been a dream of mine for years to make a movie that’s as much music as it is images, narrative or acting. I don’t mean that I’ve wanted to make a musical. Instead, I’ve always wanted to make a movie which gets airborne in inexplicable ways, the way music does, a goes to places that only music can take one. Otherwise inaccessible places of the heart, of the memory, are reached by music with an ease no other medium has the privilege of exploiting. Melodrama needs a score that can carry a story on its back. That can get that story off the ground ‘til it soars with dreamy and giddy freedom from literal – mindedness, setting it free to reach, sometimes with pinpoint control, altitudes that no naturalistic drama could ever attain. The music needs not just be in mere selfless service to the film for the score to work as I pray it can, it must come into existence simultaneously with the image - - the images must motivate the music, any great film composer can tell you that, but I say the music must motivate the images. Not jut the cutting of the images but the very nature of the images. This is a difficult effort for a composer to pull off, for the images are most often in the can long before the composer starts work, but if the film’s musician (the ingenious Jason Staczek in the case of Keyhole) is capable vivisectionist like Jason, then you get a score that seems to take turns with the images to motivate and even create each other. What an illusion - - a musical déjà vu in which cause and effect are completely flipped and no one notices! This is the genius of Jason. I needed my movie to have the timeless logic of music, but it didn’t on the page and it didn’t on the set. Not until he wrote the score for it after the film was all cut together did it appear obvious that all of the movie came directly as a result of its score!

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Find the digital booklet for the Soundtrack here.

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