1986_0201 : Music For Climax And Timpani

Category:

Description

Description


There was a short period at the time when I had just gotten to know Matt Reeves, that we both began weekend music projects that would last into the late hours of the night. I remember the first time we got together, which was the day when I came home with an aquarium for my bettas because I was trying to breed them, and got a call from Matt, who was working on a score for a friend. There was a short period at the time when I had just gotten to know Matt Reeves, that we both began weekend music projects that would last into the wee hours of the night. I remember the first time we got together, which was the day when I came home with an aquarium for my bettas because I was trying to breed them, and got a call from Matt, who was working on a score for Brad Wallace. I came over and we watched Brad’s futile attempts at doing some cues before he collapsed and went home. The music, which kind of went “Wheenh-Whoonh, Wheenh-Whoonh” became the source of hours of amusement for us later on.

With an evening ahead of us, we put a series of ambient synth tracks on his 4-track, which turned into a rather breathy and inspiring piece called Into The Ether. I returned the next weekend with my drum machine and JX-3P synth, and we continued to add some thunderclaps and other backing tracks. It began to fall apart when Matt and I tried to create a melody; I felt it worked perfectly as a cloud of undefined music.

A week or two later, we started to play around with a strange 15/16 pattern which became Music for Climax and Timpani. It sounded very much like a medieval piece, (it could have used a Gregorian chant), and I went home that night, thrilled with it and recorded it onto my 4-track. When I brought a cassette of it over to Matt as a surprise the following night, he silently produced a CD and played me something from Holst which sounded just like it to him. He shrugged. I shrugged, and kept it. I still love it.

With an evening ahead of us, we put a series of ambient synth tracks on his 4-track, which turned into a rather breathy and inspiring piece called Into The Ether. I returned the next weekend with my drum machine and JX-3P synth, and we continued to add some thunderclaps and other backing tracks. It began to fall apart when Matt and I tried to create a melody; I felt it worked perfectly as a cloud of undefined music.

A week or two later, we started to play around with a strange 15/16 pattern which became Music for Climax and Timpani. It sounded very much like a medieval piece, (it could have used a Gregorian chant), and I went home that night, thrilled with it and recorded it onto my 4-track. When I brought a cassette of it over to Matt as a surprise the following night, he silently produced a CD and played me something from Holst which sounded just like it to him. He shrugged. I shrugged, and kept it. I still love it.