“The work detaches itself from being a soundtrack to a silent film and transforms the music into an eventual, possible, aural proposition of an indivisible meta-version of the film, with the film; a speculative renewed lease on a previously unforeseen and unheard of afterlife for Battleship Potemkin for which Eisenstein himself wished a new soundtrack to be created every twenty years.“

Sven Schlijper-Karssenberg