But Contra la Puerta was done mostly in the opposite way, starting with sounds and melodies.
When I recorded Contra la Puerta, I never really thought out doing the material live. Mostly because I haven't really seen any electronic music performed live in an interesting way.
For electronica music, David Linton has been doing this series called Unity Gain, which is pretty cool.
I like to think that my finest hour is still ahead of me, so I can look forward rather than look backward.
If the finest hour is now, then I'll always be in it.
Then I took 8 years of French Horn, first jazz, and then classical.
I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.
I don't think I really know just how cool Satan really was when I was in Junior High School. Now, thanks to Marilyn Manson, it's no longer a secret.
But that's something that I like about scoring film: it makes me reach out of the parameters of my self, it requires me to do things musically that I wouldn't normally do left to my own devices.
I grew up outside of DC, New York state, and Connecticut.
