8 Tage Score

8 days

SKY Series | Director: Stefan Ruzowitzky, Michael Krummenacher ( 2019)

A 60-kilometer meteor hurtles toward Earth at a speed of 30,000 kilometers per hour. The impact zone is in the middle of Europe. The chance to survive here: zero. All of Europe is now on the run. “Eight Days” tells the story of the impending end of the world from the perspective of an ordinary Berlin family. In the end, there is one question on everyone’s mind: what is really important to you at the last moment?


The end of mankind is imminent. Therefore, David Reichelt’s musical thought was to close the circle between old and new music. Modern electronic, analog sounds, gloomy, almost noisy clusters meet traditional, classical colors in the 8 TAGE score. The themes of the film music of 8 DAYS were all composed directly to the image, describe moods and emotional states, and are not person-specific.

Each episode has two emotional, musical climaxes where the vocals kick in. The texts of the chant in 8 DAYS come from the liturgy and were processed to fit the scenes. Above all, one finds excerpts from “Tristis est anima mea” and “Stabat Mater”. In addition to the use of synthesizers, hissing, creaking, ticking (to illustrate the fact of time passing and), heartbeat-like pulsing, an e-cello can also be heard in the 8 TAGE score, which also bridges the gap between old and new.

Each episode of the series begins with a 3-4 minute flashback that leads into the title sequence and reveals background on each character. The flashbacks were deliberately left without music to enhance the effect of the theme song from 8 DAYS. This starts before the title sequence and slowly creeps in, like a dark foreboding.

The theme is attributed to the asteroid “Horus”, which can be seen in detail slowly approaching the Earth. At the end of the 8th episode in the series finale, when “Horus” can already be seen in the sky, you hear the title song from 8 DAYS for the first time as a score, in a version that has been enhanced once again.

The voice of Caroline Adler was heavily edited and alienated. David Reichelt had set the colors of the synthesizers in such a way that one sometimes feels reminded of traditional instruments, such as the sound of an organ in the beginning.