Listening carefully to music that is very different from what I usually listen was a great experience. From 1932’s work (there are truly some gems there!), I began to understand what soundscapes really are all about.

Given that the work of The Orchestral Movement of 1932 could be described as “soundscape”, “ethereal”, “distant”, I wanted (or had to, since I don’t know any better) to make something solid, energetic and in-your-face.

Everything except the bass line and a couple of Hammond pad chords are from the source material, sometimes speeded up or slowed down or (taking a page from 1932’s playbook) reversed.