Korgscrew
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Joined: Dec. 1999 |
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Posted: Mar. 19 2014, 21:46 |
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Quote (larstangmark @ Mar. 19 2014, 22:07) | Killing Fields was partly recorded in Switzerland according to the discography on this site. Presumably while working on Discovery! |
Yes. He recorded an entire score for it, which was completely electronic, in Denham, but Mike had been working to a four hour rough tape of rushes rather than the final cut of the film, so he had to rework it (Mike's account of what happened when differs from that of the editor Jim Clark in his autobiography - Jim seems to indicate Mike was in Denham when he 'finished' it and they went to listen it there, Mike in Changeling seems to suggest he 'finished' that version of it in Switzerland). It was after that (with Mike having resigned in between) when David Bedford became involved, and they eventually went over from Switzerland to West Germany to record the orchestral parts of the score.
Jim Clark also says that "In the end, I did manage to use quite a lot of his original score. It was electronic and very mixable. You could lay it up and play with it." That, presumably, is what led Mike to complain (in the Two Sides sleeve notes) that "When it came to final cut, they also cut up my music and put [it] with different scenes to those I had written the score for."
Which is a long-winded way of saying yes, the two projects were sandwiched together, though Mike's account in Changeling gives the impression that he suspended work on Discovery while he completed The Killing Fields, rather than that he worked on them completely simultaneously.
Personally, I'd put Pictures in the Dark with Islands - it was part of Mike's video period (and thought up specifically for the video, at least according to what he describes in this video - http://www.youtube.com/watch?v=axReygpllCk), ) which ultimately led to The Wind Chimes and Islands. So, I'd see it as part of the beginning of a new set of thought processes, as opposed to it being either an outtake from Discovery or a continuation of a set of thoughts from that time. It does indeed have Barry Palmer on backing vocals, but I'd say the inclusion of Anita Hegerland on lead vocals puts it more firmly into the era of songs he did with her. I imagine that's a debate that could rage for quite some time, though
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