[Thor Joachim Haga]

I will never be able to remember the specifics of this thing, like so many other people do with apparent ease.

But I’ve come to terms with a theory that goes thusly:

When I “graduated” from kiddie records to proper music listening in the mid 80s, it was influenced by my dad’s music, and whatever cassettes he donated to me. Things he had taped off of his friends’ LPs, for example. 50’s rock’n’roll, 60s pop music, 70s prog rock/art rock etc.. That became my first real passion. I hated the classical music that my dad constantly played (especially opera!), and was only sporadically interested in whatever was current at the time.

In the late 80s, I started to discover things on my own. Electronic music via (primarily) Jean Michel Jarre, orchestral music via (primarily) those “London Symphony Orchestra Plays Classic Rock” albums.

Then came TWIN PEAKS, ca. 1990. Adored the show, wrote a mini-novel inspired by it and made a cassette copy off of a friend’s CD, with my own, hand-drawn cover. My first instrumental soundtrack, I think. A mild soundtrack curiousity was trigged. Around the same time, I saw THE ABYSS on VHS, and remember lying on the floor as the brilliant end credit music rolled, wondering if soundtracks had the same kind of “concept album” feel I loved in electronic music and prog rock. The film music awareness was properly born. Then with JURASSIC PARK in ’93, the interest was cemented once and for all. So TWIN PEAKS, THE ABYSS, JURASSIC PARK…those are the three scores I credit with my film music interest.

Interestingly, my soundtrack album interest ran parallell to my film interest, but they didn’t have much to do with each other. I wanted soundtrack albums because they were concept albums, whereas film-music-in-context was part of a wider interest in filmatic tools. Hence why I’ve never had any interest in C&C releases.

I think that’s about it, truncated to be as short as possible, like an OST release. 😉