[Thor Joachim Haga]

I never really cared that much for Tangerine Dream in my early childhood and teenage days, too many sequencers. And while I sampled Riley, Reich, Nyman and Glass in the 90s (again on some of my dad’s CDs, I believe), they did nothing for me. Barely THE PIANO. In the 90s, I wasn’t keen on EDM either — although I curiously partook in some raves (it was more the events than the music).

It was only in the early 2000s that something changed. First, I rediscovered EDM artists for their musical value (house, trance and psytrance, primarily) with lots of minimalist/repetitive structures. Then I rediscovered Nyman and Preisner (and Kilar, somewhat). Then Williams’ John Adams-ian A.I. Then it was through “post-minimalist romantic” scores, by the likes of Richter, Korzeniowski, Marianelli, in the mid 2000s, that something clicked with me. From there, I went back and re-appreciated the hardcore minimalist pioneers. So I think it was a joint effort from EDM and film scores that I FINALLY was able to appreciate minimalism.