Car In The Lake
from 52 Weeks Of Downloads by Wayne Horvitz
-
Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
$1 USD or more
-
Buy the Full Digital Album
about
About a decade ago I put out a CD entitled Film Music on John Zorn’s Tzadik label. It contained music from a number of PBS specials, assorted other video projects, and at the end, the entire score to Charlie Chaplin’s “The Circus” which I still feel today is some of the best chamber music I’ve ever written. Interspersed among these tracks were 5 or 6 short pieces that were part of some work I did for Gus Van Sant for his remake of Psycho.
“Psycho” may not have been Gus’s most critically acclaimed moment, but I loved working on it. We had worked together before, I loved his work and I he is a wonderful collaborator, and typically he asked me to do something that was quite unusual, especially for a big, Hollywood production.
Gus had always intended on using Bernard Herman’s original score. He re-recorded it with Danny Elfman supervising.
And of course there was a lot of sound design, just like any movie. What Gus asked me to do was to create soundscapes of a sort that used sounds from the sound design, but create pieces that felt, at least to some degree, like “music” in the common usage of that term. (Clearly fertile territory for semantic and philosophical debate but we will leave that aside for the moment.)
I was on tour on the time, sick as a dog with some flu that was going around, cancelled a few gigs, and holed up in a studio in lower Manhattan for 3 days with an engineer I’d never met, and set about taking tons of files that the sound designer had sent me and tried to imagine what Gus had in mind and how it would fit.
The track here is actually the first track on the CD, and also one of the first I created. Its called Car in the Lake- as it was composed to a scene where he dumps the car in the lake to get rid of it. I know Gus ended up using quite a few of the cues, but I am not sure this one ended up in the place it was originally intended, but that is fine-part of the collaborative process of film music.
The piece used various samples of wind, and I looked for samples that had strong tonal (pitch) identity, and I was able to make a strong melodic theme with the sound of wind.
I hope you enjoy the music.
“Psycho” may not have been Gus’s most critically acclaimed moment, but I loved working on it. We had worked together before, I loved his work and I he is a wonderful collaborator, and typically he asked me to do something that was quite unusual, especially for a big, Hollywood production.
Gus had always intended on using Bernard Herman’s original score. He re-recorded it with Danny Elfman supervising.
And of course there was a lot of sound design, just like any movie. What Gus asked me to do was to create soundscapes of a sort that used sounds from the sound design, but create pieces that felt, at least to some degree, like “music” in the common usage of that term. (Clearly fertile territory for semantic and philosophical debate but we will leave that aside for the moment.)
I was on tour on the time, sick as a dog with some flu that was going around, cancelled a few gigs, and holed up in a studio in lower Manhattan for 3 days with an engineer I’d never met, and set about taking tons of files that the sound designer had sent me and tried to imagine what Gus had in mind and how it would fit.
The track here is actually the first track on the CD, and also one of the first I created. Its called Car in the Lake- as it was composed to a scene where he dumps the car in the lake to get rid of it. I know Gus ended up using quite a few of the cues, but I am not sure this one ended up in the place it was originally intended, but that is fine-part of the collaborative process of film music.
The piece used various samples of wind, and I looked for samples that had strong tonal (pitch) identity, and I was able to make a strong melodic theme with the sound of wind.
I hope you enjoy the music.
credits
from 52 Weeks Of Downloads,
track released March 15, 2016
license
all rights reserved
tags
about
Wayne Horvitz
Wayne Horvitz is a composer, pianist and electronic musician. In addition to his own work, he is known for his work with Butch Morris, Robin Holcomb, John Zorn, Bobby Previte, Skerik, Bill Frisell, Sara Schoenbeck, Ron Miles, Peggy Lee, and William Parker just to name a few. ... more
discography
-
Mar 2024 -
Sep 2023 -
Aug 2023 -
Feb 2021
contact / help
If you like Wayne Horvitz, you may also like:
-
Dialectica - Live at the Music Gallery
by Live At The Music GalleryWelcome Toronto's Music Gallery to Bandcamp, an archive of performances from the venue focused on innovation, experimentation, & expansion..
go to album -
Telepathic Music Vol. 1
by The Evolution of the ArmTrue to their “Twin Peaks”-inspired name, Evolution of the Arm make avant-garde music that’s irresistibly creepy.
go to album -
featured on Bandcamp Radio Nov 6, 2018
go to album -
Recorded after overcoming serious physical issues, joy and und radiate from every note of trumpeter Steph Richard's incredible new LP.
go to album -
disconsolate transceiver
by meant.Brash experimental electronic compositions from this Tulsa-based musician heavy on serrated sheets of sound that hiss and scald.
go to album -
This collaborative album considers the notion of time, with each of its electroacoustic tracks unfurling at a measured pace.
go to album -
Dawn (duendita Remix)
by Eli Keszlerfeatured on Bandcamp Radio Oct 18, 2022
go to album
