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    Thread: Vangelis

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      Default Vangelis

      I decided to create a Vangelis thread where everyone can discuss and post videos from this musical luminary. I am going to start by posting the Vangelis reviews I wrote earlier this year - I went over the most significant studio albums and soundtracks from his sizeable back catalogue and created small reviews. Obviously my views are subjective, but I have already been told from a few people that my reviews have been helpful for people who are new to or thinking about exploring his work. Hope you enjoy. I will post them in parts, and include some youtube videos to one or two of my favourite tracks from each album.

      If any newcomers are interested in checking out Vangelis’s work, the first stop might be a compilation - and there are dozens to chose from. ‘Odyssey: The Definitive Collection’ is perhaps the most wide-ranging, covering just about every ‘phase’ of his work, even if it isn’t quite as ‘definitive’ as it suggests. Other albums that are quite accessible to newbies include, in no particular order: ‘Direct’, ‘Voices’, ‘Blade Runner’, ‘Conquest of Paradise’, ‘Spiral’, ‘Oceanic’, ‘Opera Sauvage’, ‘L’Apocalypse Des Animaux’, ‘Alexander’. ENJOY!!!!
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      L’APOCALYPSE DES ANIMAUX (1972)

      Apocalypse Des Animaux - Generique (1.28)
      La Petite Fille De La Mer (6.01)
      La Single Bleu (7.41)
      La Mort Du Loop (3.07)
      L’ours Musicien (1.07)
      Creation Du Monde (10.08)
      La Mer Recommence (5.56)

      Sounds like: Music for the soul. Warm, gentle, dream-like sounds wave over you; gentle melodies and and delicate instrumentation make this a hypnotic entrancing masterpiece bound to take you away to whole other worlds.

      La Petite Fille de la Mer


      Creation Du Monde


      If I was to choose my absolute favourite Vangelis album, it might well be this one. The earliest Vangelis album that’s available on CD, this 1972 release is actually the soundtrack to a Frederick Rossif wildlife film - and, like many of Vangelis’ great film scores, is more famous than the film its based upon. This is a timeless, beautiful, mesmerising and entrancing album; a delicate, hypnotic and gentle tour de force, filled with emotion and lush soundscapes. Vangelis combines acoustic and electronic elements to what I consider one of the very best ambient/downtempo albums ever made. It might be nearly 40 years old, but it’s held up remarkably well and has a timeless quality. It’s hard to put into words just how much I love this album. It’s very smooth, laid-back and dream-like and is wonderful to put on late at night before going to bed. The most famous track is ‘La Petite Fille De La Mer’, which is a breathtakingly beautiful, tender, warm and emotional lullaby combining soothing acoustic guitars with a gentle, dreamy keyboard melody; this song just completely takes me away to another world entirely. ‘Le Single Bleu’ and ‘La Mort Du Loop’ continue the dreamy soundscapes, while the closing two tracks, ‘Creation Du Monde’ and ‘La Mer Recomencee’ take the album to another level. ‘Creation Du Monde’ in particular is an asbolute masterpiece, the lush warm pads and trickling sound effects are deeply hypnotic and otherworldly; yet there’s a slight underlying hint of tension and darkness that keeps this 10 minute opus from becoming in any way syrupy. I’m totally mesmerised by this masterpiece of an album; its timeless, stunningly beautiful and true medicine for the mind and senses.

      EARTH (1973)

      Come On (2.09)
      We are all uprooted (6.48)
      Sunny Earth (6.38)
      He-O (4.09)
      Ritual (2.45)
      Let it Happen (4.20)
      The City (1.17)
      My Face in the Rain (4.19)
      Watch Out (2.50)
      A Song

      Sounds like: Upbeat, vibrant, tribal; jubilant rock anthems mixed with ambient, laid back tracks and even some touching ballads. Vangelis makes the transition from prog rock to his trademark atmospheric and innovative instrumentals.

      Let It Happen


      A Song


      Vangelis’s first studio album sees him bridge the sound of Aphrodite’s Child (the prog rock band of which he was a part in the 1960s) and the more familiar ‘trademark’ sound of his later output. The result is an interesting, varied, atmospheric and rewarding listen. There’s a very tribal feel to a lot of the album, mixing largely ambient soundscapes comprising of lots of sound effects, samples and some narration (‘We are all Uprooted’, ‘Sunny Earth’, ‘Ritual’, ‘The City’) with soaring prog rock tracks such as ‘Come on’, ‘He-O’, and ‘Let it Happen’, the latter of which is probably the album’s strongest cut - a groovy and rather addictive song which holds up remarkably well nearly four decades on. For this record, Vangelis collaborated with several other musicians, including different singers and the result is a very varied and fresh-sounding album. A highlight includes ‘My Face in the Rain’, a mournful, touching song which brings some genuine emotion to the heart of the album, as well as the simply-titled ‘A Song’, the concluding track which is haunting, beautiful and elegant. ‘Earth’ is definitely a transition album for Vangelis and is maybe not the best stop-off point for new listeners as it sounds so totally unlike his subsequent works; but it’s definitely worth checking out, paticularly if you have a predilection for prog rock and fusion. It’s a fresh-sounding, experimental record, which demonstrates a creative mind experimenting with different elements as he seeks to find his own unique style.

      HEAVEN AND HELL (1975)

      Heaven and Hell Part One (21.58)
      Heaven and Hell Part Two (21.16)

      Sounds like: Nothing you’ve probably heard before or since. A fusion of symphonic classical with experimental electronic; ranging from bombastic, fast and furious to muted, laid-back atmospherics.

      So Long Ago, So Clear


      12 O'Clock


      This is one of the most unique albums I’ve ever heard. Vangelis creates a totally original, blisteringly vivid and experimental work of art, in which he basically uses various keyboards and synths, as well as extensive choiral sequences, to create a classical, operatic styled piece - one that’s organic, spontaneous, unpredictable and quite thrilling. It veers from furious bombast to gentle melodious introspection in the blink of an eye; the loud, aggressive ‘hell’ and the sublime, peaceful ‘heaven’ of the title. It consists of two roughly equal parts. The first part begins with ‘Bacchanale’, which features a slightly obtrusive trumpet sound and soars into a bombastic frenzy, before melting into a more muted piece, ever-shifting, ever-changing until it culminates in the lush, beautiful piano-led ‘movement 3’ which became the theme music to Carl Sagan’s ‘Cosmos’ series in the 70s. The first act concludes with ‘So Long Ago, So Clear’ a rather lovely, touching synth-driven tune, featuring vocals by Jon Anderson in his first collaboration with Vangelis. It sounds dated yes, but it’s still a joyous little song, with a heart-melting swell as it climaxes. The second part of ‘Heaven and Hell’ begins with what was interestingly dubbed on some LP pressings as ‘Intestinal Bat’, an atmospheric collage of sounds and effects before picking up the pace and becoming faster and more melodious. The highlight for side two of this album is, for me, the section known as ’12 O’clock’: featuring ringing church bells, distant choirs and an agonisingly beautiful solo lament over Vangelis’ delicate keyboard arrangements, this is a masterpiece of sound and emotion, evoking images of distant times and places. The final two movements again quicken the pace before relaxing it into a mellow, hazy finale that gently fades into the distance. I’ve said more than I intended to here: this is without doubt a classic album and a true masterpiece. It’s fresh, lively, spontaneous, playful, bombastic and tranquil in equal measure, highly experimental and shows tremendous vision and talent. It won’t appeal to everyone and yes, parts of it sound dated, but in spite of that, as a piece of work I think this has a timeless, transcendent quality. Interestingly I wasn’t that keen on it when I first heard it (I was expecting something very different) but it has grown on me immensely.
      Last edited by BlueStar; November 11th, 2009 at 12:16 PM.
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      IGNACIO (1975)

      Ignacio (39.27)

      Sounds like: A journey of contrasting light and dark.

      Ignacio


      A soundtrack album to a Mexican film, this is a non-essential but still enjoyable entry into Vangelis’ catalogue. It’s a very varied piece of music, beginning with a sad, romantic theme that interweaves the album, alongside more intense, aggressive-sounding movements; a technique used in his ‘Heaven and Hell’ album. Gentle soundscapes give rise to bombastic, occasionally dissonant sections, morphing into long sequences of arranged sound effects and ambience before again dissolving into lush electronic lullabies. Not considered a classic, but still worth a listen.

      ALBEDO 0.39 (1976)

      Pulstar (5.45)
      Free Fall (2.20)
      Mare Tranquillitatis (1.45)
      Main Sequence (8.15)
      Sword of Orion (2.05)
      Alpha (5.45)
      Nucleogenesis Part One (6.15)
      Nucleogenesis Part Two (5.50)
      Albedo 0.39 (4.30)

      Sounds like: A journey through the majesty of the universe; intense, electric, alive.

      Pulstar

      Albedo 0.39


      Now this one IS considered a classic. Though undoubtedly a little dated-sounding in places, it’s nevertheless a vibrant, vital piece of music that’s unpredictable, fresh and has a very spontaneous, organic feel like much of Vangelis’s classic work. It’s hard to put any label on this unique piece of work: it might be considered a fusion of electronica, jazz, ambient and prog rock. While there are some quiet interludes (the atmospherically ambient ‘Freefall’, ‘Sword of Orion’ and the dark, spacy ‘Mare Tranquillatus’) the main segments are furiously fast-paced, vibrant and vital, as in the case of jazz-fusion ‘Main Sequence’ (not one of my favourite cuts, but then jazz really isn’t my thing) and the dazzlingly vital and experimental ‘Nucleogenesis’ two-parter. The album closes with the strangely hypnotic title track, which features a male voice relating a series of astronomical data relating to the Earth over a background of alluring cosmic soundscapes. Another very notable track is the classic ‘Alpha’, a sprawling, majestic and opulent track which is rightly considered one of the composer’s greatest tracks. Overall, the album is very progressive, experimental and varied; a triumphant and high-energy trip through the cosmos, perfectly capturing the wonder and majesty of the universe in which we live, alive with energy, darkness and wonder.

      LA FETE SAUVAGE (1976)

      La Fete Sauvage Part One (18.13)
      La Fete Sauvage Part Two (20.19)

      Sounds like: Tribal music combined with soft melodic themes

      La Fete Sauvage, Part 2


      Another soundtrack for a Frederic Rossif wildlife film. The first track opens with an upbeat, electronic opening, before settling into a very ethnic, tribal feel, with lots of African drumming and nature sounds. Part two is my favourite and sees the music become very gentle, melodic and soothingly atmospheric in a way reminiscent of L’Apocalypse Des Animaux. A non-essential album perhaps, but worth getting solely for the beautifully dreamy music of side two; I love listening to side two as I’m getting off to sleep. It’s simply beautiful.

      SPIRAL (1977)

      Spiral (6.55)
      Ballad (8.27)
      Dervish D (5.21)
      To The Unknown Man (9.01)
      3+3 (9.43)

      Sounds like: A soaring electronic opera.

      To the Unknown Man


      Spiral is another 70s Vangelis classic; it has a more even, cohesive feel perhaps than ‘Albedo 0.39’ and ‘Heaven and Hell’; although it doesn’t push the boundaries quite as far or offer anything quite as groundbreaking, you get the sense that Vangelis has really found an approach and style that works for him and in terms of production and performance he not only hits the mark but smashes it to bits. Again, the 70s analogue technology might sound a little dated, but its the quality, inventiveness, playfulness and exuberance of the man’s performance which makes it such a joy. The energy is electrifying and alive and it can’t help but uplift and refresh the senses and stir the soul. This is probably the best bet for newcomers to sample Vangelis’s 70s classics as it has a certain accessibility. The standout track is without doubt the 9 minute masterpiece that is ‘To the Unknown Man’; a deceptively simple, but soaring, majestic and breathtaking epic which gradually builds up and morphs into three distinct passages. I simply love it; it has a certain energy and beauty which totally transfixes me.

      BEAUBOURG (1978)

      1. Beaubourg Part One (17.50)
      Beaubourg Part Two (20.43)

      Sounds like: Um, disjointed noise!

      Beaubourg excerpts


      A controversial entry into the Vangelis discography; this is one of his very least accessible albums, and seems to lack structure, melody and rhythm. It wouldn’t be unfair to say that it’s really just a collection of strange noises, as though Vangelis had broken into the BBC sound effects department and then simply assembled a melange of FX noise. Some people believe this album was just a contractual obligation, although Vangelis appears to be rather fond of it. Personally I find it quite nice to put on in the background when writing certain things - it’s good for writing tense, eerie fiction. Probably not an album you’d listen to for much else, although I do find it strangely compelling at times. All in all, I don’t think I’d recommend this to any but completists.

      CHINA (1979)

      Chung Kuo (5.31)
      The Long March (2.01)
      The Dragon (4.15)
      The Plum Blossom (2.38)
      The Tao of Love (2.46)
      The Little Fete (3.04)
      Yin & Yang (5.52)
      Himalaya (10.53)
      Summit (4.30)

      Sounds like: An eclectic mix of sounds and styles, with an Oriental theme. Bold, subtle and majestic.

      Tao of Love


      The Dragon


      For whatever reason ‘China’ wasn’t an album I listened to much until recently. At first I found it a little too diffuse and subtle; but my opinion has changed a lot. This is without doubt a Vangelis classic. There are Eastern flourishes, although it never lapses into cliche - this is vintage Vangelis at his most experimental and uninhibited. Again, he seems to follow his own instincts rather than being too concerned with following established parameters. There are various different moods and atmospheres, from the rhythmic, vibrant ‘Chung Kuo’, ‘The Dragon’, ‘The Plum Blossom’ and ‘Yin & Yang’ to the more tranquil, restful interludes such as ‘The Long March’, ‘The Tao of Love’ and ‘The Little Fete’ this is a delightfully balanced album, ending with an epic 15 minute odyssey comprised of ‘Himalaya’ and ‘Summit’. ‘Himalaya’ has an esoteric, spacy feel and very gradually builds to a majestic yet subtle climax, and is capped by ‘Summit’ which is the perfect closer. ‘China’ is a delicate, subtle yet at times feisty little album, filled with Vangelis’s delightfully experimental and vibrant composing eliciting evocative atmospherics and wistful waves of emotion. It’s good music to sit back and daydream to.
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      A fantastic thread Rory, I really love some of these tunes and should listen to more Vangelis, Apart from the odd tune and the Blade Runner music, I have not really heard that much. I think i will take your advice and get hold of a greatest hits album, thats always a good place to start..

      Some great reviews and videos, well done

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      Thumbs up

      Very cool Lucid. Any consideration to reviewing additional releases? You do a very good job of it.
      Well Done my friend.


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      You're welcome guys Glad it's inspired you to check some of his work Sean...there's soooo much to enjoy! Another very popular compilation album is called 'Themes'.

      And yeah, Michael, there will be many more reviews! They're already written and I'll post more later

      Everyone else is also invited to post their own reviews, opinions, favourites, etc
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      An excellent thread indeed - it is like having Lindt chocolate! Yummy!
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      Quote Originally Posted by Sphinx View Post
      An excellent thread indeed - it is like having Lindt chocolate! Yummy!
      LOL...I LOVE Lindt chocolate too! Lindt and Vangelis...hmm. Maybe if Vangelis was a bit younger and hunkier (and so inclined) we could run off together to a deserted island with a lifetime supply of Lindt. He could serenade me with his music while I eat the chocolate. Would be heaven, haha
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      Quote Originally Posted by Lucid Exposition View Post
      LOL...I LOVE Lindt chocolate too! Lindt and Vangelis...hmm. Maybe if Vangelis was a bit younger and hunkier (and so inclined) we could run off together to a deserted island with a lifetime supply of Lindt. He could serenade me with his music while I eat the chocolate. Would be heaven, haha
      OH - you are just too much!!
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      OPERA SAUVAGE (1979)

      Hymn (2.47)
      Reve (12.32)
      L’Enfant (5.05)
      Mouettes (2.30)
      Chromatique (3.31)
      Irlande (4.47)
      Flamants Roses (11.50)

      Sounds Like: A lush, subtle soundtrack with some haunting melodies and dreamy soundscapes

      L'Enfant


      Reve, (Part 1)


      Reve, Part 2


      Although not one of Vangelis’s best known works, this album, released the year of my birth, is one of his most exquisite and lovely soundtracks, containing some classic tracks such as the beautifully romantic and vibrantly melodic ‘Hymn’, the entrancing ‘L’Enfant’ which almost sounds like a forerunner to the ‘Chariots of Fire’ theme, and my personal favourite ‘Reve’, which is an expansive, enchanting and dream-like 12 minute odyssey which washes over the listener in delicate waves. Overall, it’s a warm, delicate, subtle album, with a gentle dream-like quality.

      ODES (Vangelis & Irene Papas) (1979)

      40 Braves (5.16)
      Little Orange Tree (5.46)
      Fire Dance (6.01)
      The Kolokotronei (3.17)
      The River (6.41)
      The Roots (8.46)
      Lamento (8.25)
      Menousis (6.36)

      Sounds like: Deep, rich, haunting, epic and medieval: almost like a forerunner to Dead Can Dance.

      Little Orange Tree


      Vangelis’s first collaboration with Irene Papas is actually rather wonderful; Papas sings traditional Greek songs while Vangelis provides a rich and textured musicianship throughout. It’s almost like stepping back in time; very dark, rich and atmospheric, with a balance of the dramatic and fiery, delicate and subtle; with moods ranging from the dark introspection of ‘Lamento’ to the rather joyous ‘Menousis’, although most the album veers toward the former. Like many Vangelis albums, ‘Odes’ is perhaps not an immediately accessible album, but rewards immensely with repeat listens. My favourite track is probably the sublimely haunting, mellow ‘Little Orange Tree’.

      SEE YOU LATER (1980)

      I Can’t Take It Anymore (5.38)
      Multi Track Suggestion (5.32)
      Memories of Green (5.44)
      Not A Bit - All Of It (2.55)
      Suffocation (9.21)
      See You Later (10.22)

      Sounds Like: A completely different sound; experimental and yet more contemporary-sounding, peppered with vocal snippets; an improvisational feel, laced with a zany, wry humour and unexpected wackiness.

      Memories of Green


      Multi-Track Suggestion


      This is a strange album that’s very difficult to place. It’s a radical departure from Vangelis’s work of the 70s and in fact anything he did subsequently; it has a more contemporary sound with elements of what is today known as ‘techno’. Again, Vangelis is pushing boundaries and throughout it’s a very experimental album which doesn’t play to any particular set of rules of conventions. Although it’s a little inaccessible at first and is probably one of his least popular albums, I found that repeated listens really made it grow on me. It has a very zany sense of humour (particularly in the downright bizarre ‘Not A Bit - All Of It’, a satire on our superficial modern ‘image is everything’ society). There are lots of interspersed vocals but despite a more contemporary sound and greater use of percussion and bass, the album isn’t immediately accessible and the songs seem to be very loosely structured. The heart-breakingly bleak and beautiful ‘Memories of Green’ is the clear highlight (later used in the Blade Runner soundtrack), while I’m also partial to ‘I Can’t take it Anymore’, ‘Multi-Track Suggestion’ and ‘See You Later’. It’s a strange album that doesn’t feel all that cohesive and I’m not sure if many people would ‘get’ it, but I nevertheless find it oddly enjoyable.

      CHARIOTS OF FIRE (1981)

      Titles (3.33)
      Five Circles (5.20)
      Abraham’s Theme (3.20)
      Eric’s Theme (4.18)
      100 Metres (2.04)
      Jerusalem (2.47)
      Chariots of Fire (20.41)

      Sounds like: Don’t pretend you haven’t heard the main titles theme at least!

      Chariots of Fire


      This is Vangelis’s breakthrough film score, earning him an oscar for best original score. I don’t actually think it’s his best soundtrack by an means - and the ‘titles’ theme has become over-familiar to the point of endless parody, which is unfortunate. It is nevertheless an incredible piece of music and rightly celebrated. The rest of the album is a little uneven, and having yet to see the film, I can’t offer any real placement to the tracks selected here. They are delicate and mellow electronic works, warm and tender, very reminiscent in sound and feel to Vangelis’s superior soundtrack ‘Opera Sauvage’ a couple of years earlier. The insertion of traditionally-performed ‘Jerusalem’ is unfortunate as it breaks the album’s cohesion (Vangelis didn’t even perform this track; if he’d created his own version it might have worked better) and the 20 minute closing track, largely quite sparse and piano-based is actually very atmospheric and lovely even if it doesn’t quite mesh with the earlier tracks.

      ANTARCTICA(1983)

      Theme From Antarctica (7.29)
      Antarctic Echoes (5.58)
      Kinematic (3.50)
      Song of White (5.17)
      Life of Antarctica (5.59)
      Memory of Antarctica (5.30)
      Other Side of Antarctica (6.56)
      Deliverance (4.30)

      Sounds like: Haunting, epic, melancholic, conjuring images and feelings of remoteness, coldness and yet sparks of tenderness and warmth. A beautiful soundtrack.

      Antarctica Theme


      Antarctic Echoes


      ‘Chariots of Fire’ might have won the Oscar, but to me this is a superior soundtrack album and, like Vangelis’s best soundtracks, works beautifully as an album quite independent of the film. The main theme is simply wonderful; it’s melodic, majestic, atmospheric, beautifully composed and produced and is delightfully infectious. The theme is reprised throughout the album, a recurring motif occurring in different forms and styles. The first track is vigorous and dramatic, while the rest of the album is largely quite gentle and hypnotic, although Vangelis perfectly keeps the pace wisely injects frequent undercurrents of palpable tension and urgency into the dreamy soundscapes, keeping the album alive and vital. It perfectly captures the images and feel of a remote, icy landscape; although the synth washes have a warm feel, the arrangements elicit the coldness and loneliness of the Antarctic and the majesty and beauty of this remote wilderness. Dreamy, ethereal and enchanting - this is a superlative album. Some might find it a little too muted, but others will delight in the beautiful atmospherics and be swept away by the lush soundscapes.
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      Cool

      Antarctica is very stirring. It's a very good choise for setting a romantic mood for creative expression.
      And chronologicaly, I would guess "Soil Festivities" is the next release for review.........


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      Quote Originally Posted by Psyche View Post
      Antarctica is very stirring. It's a very good choise for setting a romantic mood for creative expression.
      And chronologicaly, I would guess "Soil Festivities" is the next release for review.........
      Antarctica is a lovely album, very underrated IMO, it's not very well known and it deserves to be. Soooo evocative.

      And yeah, Soil Fesitivities will indeed be next...but not tonight, maybe tomorrow! I LOOOVE that album too. Put on headphones, lie back and it takes you to whole other worlds. A totally unique album...
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      SOIL FESTIVITIES(1984)

      Movement 1 (18.32)
      Movement 2 (6.20)
      Movement 3 (6.10)
      Movement 4 (9.57)
      Movement 5 (7.21)

      Sounds like: An extraordinary work of art; imaginative, experimental, unique-sounding; dream-like ambient soundscapes based upon a nature concept. Gentle, delicate and hypnotic.

      Soil Festivities Movement 4

      Soil Festivities, Movement 2


      ‘Soil Festivities’ is a concept album based upon Vangelis’s observations of the natural world and in particular the microscopic world of life existing within the soils. It’s firmly rooted in his mid-80s experimental phase and as such is not perhaps the most immediately accessible album or one that would be a good stopping point for newcomers. It’s a delicate, subtle, deceptively minimalistic piece that rewards careful and repeated listening. That said, it’s an absolute masterpiece and immediately became one of my all-time favourite Vangelis albums. Movement 1 is a work of sheer genius; a single string-like synth weaves its way throughout this 18-minute piece in a drone-like motif, while various other sounds drift in and out in a seemingly improvised fashion. It’s at once hypnotic, alluring, entrancing, playful and in spite of the repetitiveness and lack of structure or overriding melody is never remotely in danger of becoming dull. It’s a meditative ambient piece which perfectly captures the feeling of nature at play and one of Vangelis’s greatest musical achievements. Movements 2 and 4 follow the styling of the first section and are similarly hypnotic and calming. The third and final tracks inject an element of excitation and tension and are faster, more bombastic and electrified in counterbalance to the general serenity of the rest of the album. All in all, a magnificent and unique album that is hard to do justice to in this short space.

      MASK (1985)

      Movement 1 (10.24)
      Movement 2 (3.26)
      Movement 3 (6.44)
      Movement 4 (8.46)
      Movement 5 (10.04)
      Movement 6 (4.23)

      Sounds like: Electronic/classical fusion: dark, fierce, atmospheric and experimental.
      Mask Movement 2


      Mask Movement 4


      Although as an artist Vangelis is firmly rooted in the ‘electronic’ genre it seems a large part of his heart is in classical music. Ten years previously he combined electronica with classical elements in ‘Heaven and Hell’ and he revisits that notion here with even greater gusto. Following the success of his ‘Chariots of Fire’ Oscar win in the early 80s, Vangelis seemed determined not to rest on his laurels and entered a fiercely experimental phase beginning with ‘Soil Festivities’ and ending with his subsequent album ‘Invisible Connections’. ‘Mask’ is a rather unusual mixture of electronics and symphonic elements; mainly evidenced in the extensive use of choiral elements and timpani percussion. It’s dark, intense, unique and filled with atmosphere. Once again, Vangelis throws traditional musical conventions out the window and simply seems to be following his own instincts, which makes the music immediate, raw and unpredictable. The tracks lack structure and have a somewhat meandering fluidic form. Much of the first half is a juxtaposition of dark and light, loud and soft, while later tracks provide some variety in sound and tempo; Movement 4 is an unusual, exotic and deliciously different track featuring an addictive and moving male solo in what is probably my favourite track of the album. Personally I find ‘Mask’ a powerful and enjoyable album, it has a rich orchestral soundtrack quality; but that said, not everyone is taken by Vangelis in classical mode. The sound and styling of ‘Mask’ makes it a virtual prototype for the later operatic stylings of “El Greco” and ‘Mythodea’. Worth checking out, but perhaps too dark and impenetrable for neophytes.

      INVISIBLE CONNECTIONS (1985)

      Invisible Connections (18.38)
      Atom Blaster (7.50)
      Thermo Vision (13.19)

      Sounds Like: Not so much music as an assortment of noise and effects. Very inaccessible and avant garde - atmospheric and stark. Not recommended for newcomers to his work.

      This album is very much a follow-up to 1978’s ‘Beaubourg’. It’s not music in the traditional sense; it’s more like a melange of sound effects from a science fiction film. It lacks form, structure and melody and unfolds without any regard to traditional conventions of pace or structure. That said, it succeeds in creating a tangible atmosphere of tension, darkness and space. I haven’t listened to the album much, and doubt it’s one I will return to with any regularity, but I imagine it would be quite good to have on in the background when writing fiction, as it creates a certain mood of disquiet and muted tension that might be conducive to writing, or perhaps even reading. But I wouldn’t recommend this to anyone unless they fully knew what they were getting: an extremely minimalistic piece comprised mainly of atmospheric sound effects. It’s certainly a curiosity piece and it would seem a last purge for Vangelis to get all the dark experimental impulses out his system before he was to enter a rather more commercial-oriented phase from ‘Direct’ onwards.

      RAPSODIES (Vangelis & Irene Papas) (1986)

      To My Champion and Commander (6.52)
      Oh, My Sweet Springtime (8.41)
      I See Your Bridal Chamber All Bedecked (1.36)
      Rhapsody (5.26)
      The Beauty of Your Virginity and Splendour of Your Purity (4.41)
      Resurrection (7.23)
      Song of Songs (11.13)

      Sounds Like: A sequel to ‘Odes’ and in a very similar style; dark, epic, romantic and orchestral with striking vocals by Papas

      Beauty of your virginity and splendour of your purity


      ‘Rapsodies’ is a worthy sequel to Vangelis’s first collaboration with Irene Papas and crafts similar sounds, atmospherics and moods to its predecessor. The music is vibrant, orchestral and richly epic, like a soundtrack to a film that was never made. The instrumental first track evokes images of epic battles and valiant heroics, while ‘Oh, My Sweet Springtime’ captures an achingly romantic and emotional vibe which interweaves its way through much of the rest of the album. The wistfully romantic vibe is nowhere more prevalent than ‘The Beauty of Your Virginity...’ a track, which despite its somewhat amusing title, is an emotional piece in which both music and vocals perfectly combine to poignant effect. Unfortunately the closing track ‘Song of Songs’ us the sole clunker: it features Papas narrating a very long poem over a very minimal and repetitive backing. It might have worked had it been half the length, but sadly it just goes on interminably with little to sustain interest. ‘Resurrection’ would have made a far better denouement. Still, despite that it’s still a hugely enjoyable album, although maybe not to everyone’s tastes; if you like the rich medieval-style atmospherics of bands such as Dead Can Dance, definitely check this out.
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      DIRECT (1988)

      The Motion of the Stars (4.23)
      The Will of the Wind (4.45)
      Metallic Rain (6.12)
      Elsewhere (5.41)
      Dial Out (5.22)
      Glorianna (Hymm a la Femme) (4.29)
      Rotation’s Logic (3.31)
      The Oracle of Apollo (3.58)
      Message (7.13)
      Ave (5.06)
      First Approach (5.01)
      Intergalactic Radio Station (7.55)

      Sounds Like: A hugely enjoyable intermix of electronica, rock, pop, jazz and classical; fresh, upbeat, invigorating and atmospheric. One of Vangelis’s best and most accessible albums.

      Intergalactic Radio Station


      Will of the Wind


      First Approach


      Don’t be put off by the gross cover artwork; this is a brilliant, must-have album! A completely new sound and direction for Vangelis and one that bridges his experimental 70s and 80s eras with what would be an arguably more commercial sound in the 90s. ‘Direct’ is a genre-busting interfusion of sounds, combining elements of classical, orchestral music with pop hooks, contemporary percussion along with tinges of rock, jazz, new age and world music. The melodies are strong and vibrant, and the sound is fresh and invigorating; following the dark and experimental works of the mid 80s, this is like daybreak after a long night. It’s an upbeat, uplifting and joyful odyssey. There are too many highlights to mention, as there isn’t a dud track on here (although the operatic ‘Glorianna (Hymn a la Femme) is a little out of place). I have to say my favourite track is the fantastic ‘Intergalactic Radio Station’, a fresh, epic and thoroughly addictive track which has a playful, quirky edge to it including a tongue-in-cheek narration by what appears to be a studio associate of Vangelis discussing the latest recording techniques. That track is worth the price of the album alone. Definitely a must-have, and a very good starting place for those new to the Van man.

      THE CITY (1990)

      Dawn (4.16)
      Morning Papers (3.55)
      Nerve Centre (5.30)
      Side Streets (4.12)
      Good to See You (6.51)
      Twilight (4.57)
      Red Lights (3.55)
      Procession (9.33)

      Sounds Like: Laid-back, moody and atmospheric album based upon the concept of city life.

      Procession

      Dawn


      ‘The City’ sees Vangelis moving from his experimental 80s work into a more accessible and, dare one say commercial phase that would mark his work during the 90s. ‘The City’ is designed as an ode to city life; that might suggest a frenetic, chaotic, intensely ‘busy’ album, when in fact ‘The City’ instead depicts a rather laid-back, continental city where perhaps everyone takes an afternoon siesta after lunch. ‘Dawn’ is a beautiful, gentle and delicate opening piece, which - following by a strangely amusing vocal snippet featuring Roman Polanksi (“a sandwich?”) - leads into the exotic, melodic ‘Morning Papers’ and the more electrified and vigorous sounds of ‘Nerve Centre’, which conjures the busier, more mechanical, aggressive feel of city life and is an interesting track with a varied concoction of sounds and styles. Subsequent tracks return to the more laid-back, delicately melodic style of the initial tracks, until ‘Red Lights’ provides another burst of energy and vigor. Closing track ‘Procession’ is an album highlight; a nine minute epic which weaves a gentle and haunting melody across a hypnotic soundscape, dated only slightly by the synthesised ‘choir’ sounds. Overall, ‘The City’ is a winner: it’s an enjoyable, engaging, subtle and smooth album, combining Vangelis’s move into what might be considered ‘new age music’ with a muted jazzy flourish. A perfect album to slap on at night and unwind to with a glass of wine.

      1492: CONQUEST OF PARADISE (1992)

      Opening (1.24)
      Conquest of Paradise (4.52)
      Monastery of La Rabida (3.41)
      City of Isabel (2.18)
      Light and Shadow (3.49)
      Deliverance (3.31)
      West Across the Ocean Sea (2.55)
      Eternity (2.01)
      Hispanola (4.59)
      Moxica and the Horse (7.08)
      Twenty Eighth Parallel (5.14)
      Pinta, Nina, Santa Maria (Into Eternity) (13.20)

      Sounds Like: One of the finest soundtracks ever created. A masterpiece of emotion, atmosphere and epic beauty.

      Conquest of Paradise


      Pinta, Nina, Santa Maria (Into Eternity)


      Arguably this is one of Vangelis’s two finest soundtracks, the other being Blade Runner. It’s remarkable for a number of reasons, including the fact it is the bestselling album by Vangelis and that it is more famous and celebrated than the film it is based upon (Ridley Scott’s Colombus epic which was a spectacular flop and is now largely forgotten). The title track - an extraordinary mixture of epic operatics and sweeping electronica - was used by a German boxing champion as his personal anthem and enabled the song to hit the number one chart position in many European countries in the mid 90s, also boosting album sales tremendously. The album combines various sounds and styles, mixing choiral and classical elements with ethnic sounds and vocals and sweeping electronic soundscapes. Haunting, evocative and thoroughly enchanting, the album is an extraordinary fusion of sounds and emotions, capturing an epic, medieval vibe and juxtaposing it with a timeless and transcendent sweep of tranquility. The balance Vangelis achieves is sublime and the pacing flawless. While there are many highlights, from the bombastic title track to the sublimely beautiful ‘Monastery of La Rubida’ and ‘West Across the Ocean’ and the alluring and energetic atmospheres of ‘Moxica and the Horse’ and ‘Hispanola’ the clear highlight for me is the breathtakingly beautiful, closing epic ‘Pinta, Nina, Santa Maria (Into Eternity)’. It’s one of Vangelis’s longer compositions but it clearly ranks as one of the finest pieces of music he’s ever created. It’s a stunningly beautiful, entrancing, captivating and epic dance of sound which never fails to enchant me. The album is worth buying for this piece alone.

      BLADE RUNNER (1994)

      Main Titles (3.42)
      Blush Response (5.47)
      Wait For Me (5.27)
      Rachel’s Song (4.46)
      Love Theme (4.56)
      One More Kiss Dear (3.58)
      Blade Runner Blues (8.53)
      Memories Of Green (5.05)
      Tales of the Future (4.46)
      Damask Rose (2.32)
      Blade Runner (End Titles) (4.40)
      Tears In Rain (3.00)

      Main Titles / End Titles


      Tears in Rain


      Rachel's Song


      Sounds like: Deep, dark, moody and deliciously atmospheric, yet another ground-breaking, classic soundtrack which holds up an an extraordinary piece of work independent of the film.

      For whatever reason (and there are numerous rumours as to disputes and Vangelis being a bit diva-like and digging his heals in over contracts), Vangelis’s lavish and hugely acclaimed sound-track to Ridely Scott’s cult classic ‘Blade Runner’ was unreleased until some 12 years after the film’s original release. The film was of course a bit of a flop when originally released but grew to become a cult classic and garnered huge popularity with the release of video and the much-heralded director’s cut in 1992. This soundtrack may have disappointed some by being far from complete; there are many important pieces from the film that are not included, while a couple of pieces that were written for the film but not included are present here. But most of Vangelis’s soundtrack releases differ greatly from the actual content of the film. He tends to take the original score and then modify and re-work it to create a proper ‘album’ rather than simply stringing it all together as heard on screen, as many soundtrack composers do. In spite of omissions, it works tremendously and this is a breath-takingly brilliant soundtrack to what is arguably cinema’s finest science-fiction film. It’s a atmospheric tour de force, dripping with mood, emotion, depth, intrigue and an engagingly otherworldly, ‘alien’ kind of style. It perfectly conjures the dark, dystopian future depicted in the film, but is similarly grounded in the human themes that make it so compelling and rich. The themes here are richly melodic, romantic, darkly beautiful and enchanting. The mixture of dark and light is exceptional and is personified in tracks such as ‘Rachel’s Song’, a potent mixture of delicate beauty and bleakness. The 40’s style number ‘One More Kiss Dear’ is an unusual addition and initially seems extremely out of place amid the atmospheric electronics and yet somehow, when viewed in the context of the whole album seems to compliment it nicely and adds a nostalgic, romantic touch which balances out the unrelenting bleakness of the following track ‘Blade Runner Blues’, a nine minute minimalistic tour de force of mood and atmosphere; a track which perfectly sits alongside Vangelis classic ‘Memories of Green’, a track from previous album ‘See You Later’ which perfectly sums up the tone of the film and its soundtrack. ‘Tales of the Future’ features a strange, disconcerting ethnic-sounding vocal which works perfectly in the film, although the five minute presentation here seems too long; the voice is atmospheric and alien but it isn’t especially pleasing to the ears. The album ends with the end titles, which is an extraordinary piece of music and perhaps a fore-runner for the genre that would be later dubbed ‘trance’; an electrical tour de force filled with passion, energy and a boasting a simple but unrelenting hook. Closing track ‘Tears In Rain’ is another tour de force; for my money one of the best ‘death scene’ scores in the history of cinema. It’s delicate, beautiful, moving and is a work of subtle genius, expertly incorporating Roy’s brilliant final speech. I can’t rave too much about this incredible soundtrack - it’s damn near perfect, much like the film itself.
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      VOICES (1995)

      Voices (7.00)
      Echoes (8.20)
      Come To Me (4.40)
      P.S. (2.05)
      Ask the Mountains (7.55)
      Prelude (4.24)
      Losing Sleep (Still My Heart) (6.41)
      Messages (7.30)
      Dream In An Open Place (5.50)

      Sounds Like: Delicate, ethereal dreamscape music.

      Come To Me


      Ask the Mountains

      Dream in an open place


      Whilst the titular opening track is filled with bombast and soaring operatic vocals (slightly reminiscent of his major hit ‘Conquest of Paradise’ a couple of years earlier), from the second track onwards ‘Voices’ settles into a lush, laid-back dreamy sound; it’s smooth, tranquil and beautifully atmospheric. One of Vangelis’s few albums to feature prominent vocals, this features contributions by three artists (Caroline Lavelle, Stina Nordenstam and Paul Young), whose dreamy vocals drift gently upon the waves of sound. The vocals only seem quite incidental and are never quite the dominant focus here; this is very much about the sprawling electronic soundscapes crafted by Vangelis. Tranquil, melodic, romantic and warm, this is a wonderful album to put on and allow to wash over you. The highlights include ‘Come To Me’, a beautiful, haunting yet simple song with understated yet angelic vocals, ‘Ask the Mountains’ (recently featured on a washing machine advert - the one where all the clothes turned into fish!), ‘Losing Sleep’ (such a romantic, wistful track), while ‘Prelude’ and ‘Dream in an Open Place’ are lovely piano-led tracks which, though simple, are nonetheless enchanting. Fans of Vangelis’s more progressive roots tend to find this lacks ‘teeth’, but those who are enticed by his more tranquil, ‘new age’ style will adore this. Personally, I think it’s one of his best - the perfect album for putting on late and night and allowing the warm waves of sound to gentle unwind you.

      OCEANIC (1996)

      Bon Voyage (2.32)
      Sirens’ Whispering (7.59)
      Dreams of Surf (2.43)
      Spanish harbour (6.42)
      Islands of the Orient (7.24)
      Fields of Coral (7.43)
      Aquatic Dance (3.43)
      Memories of Blue (5.40)
      Song of the Seas (6.12)

      Sounds like: Fluidic, soft, dreamy, gently melodic and, well...oceanic.

      Song of the seas


      Spanish Harbour


      Fields of Coral


      ‘Oceanic’ is, in many ways, a perfect companion to ‘Voices’; both have a very similar feel and tone, one that is gentle, laid-back and delicate. Inspired by the oceans, this is an enjoyable and engaging album; but one that is quiet, subtle and very meditative. As with ‘Voices’, those looking for the edgy Vangelis experimentation of the 70s and 80s will have to look elsewhere, but those appreciative of gentle, unassuming and beautiful dreamscape music will be right at home. ‘Bon Voyage’ with its lush, cinematic synthetic orchestrations provides a short but regal opening, before leading into ‘Sirens’ Whispering’ which is alas not the album’s strongest track. Like one or two other tracks on here, it’s simply too long and ambles rather repetitively without structure or much in the way of development. Things pick up with the short but sweet ‘Dreams of Surf’, a simple but lovely piano-driven track, which is followed by ‘Spanish Harbour’, notable for its strong percussion and gentle interweaving of sounds and exotic instrumentation. ‘Islands of the Orient’ is another long track, but it develops nicely, combining different sounds and styles with an engagingly jazzy flourish. ‘Fields of Coral’ is a dreamy ambient piece, slightly reminiscent of his earlier masterpiece ‘Soil Festivities’ and it perfectly captures the feel of a tranquil, colourful, lively underwater world. ‘Aquatic Dance’ is the perfect companion piece to ‘Fields of Coral’, again painting a vivid picture of an underwater visa filled with colour and activity; slightly more uptempo, but still lush and dreamy. ‘Memories of Green’ is another lovely but simple piano-led track, with a wistful nostalgic atmosphere; reminiscent of ‘Dream in an Open Place’ from ‘Voices’. However, Vangelis has saved the best for last with the final track ‘Song of the Seas’. Based around a gentle beat interwoven with a lush, haunting synth melody, this is a beautiful, blissful and engaging piece; gentle, but insistent and, like the best of Vangelis’s music, it stirs the emotions. It’s soothing, warm, melodic and at once both wistful yet uplifting. ‘Oceanic’ is an album that’s perfect for ‘chilling out’ to. It’s understated and meditative, warm and exotic. It perfectly captures the majesty, vastness and beauty of the ocean.
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      EL GRECO (1998)

      Movement I (10.06)
      Movement II (5.19)
      Movement III (6.49)
      Movement IV (6.26)
      Movement V (4.26)
      Movement VI (7.54)
      Movement VII (3.20)
      Movement VIII (9.44)
      Movement IX (11.58)
      Movement X (Epilogue) (7.00)

      Sounds Like: Medieval, dark, brooding and atmospheric.

      El Greco Movement VI

      El Greco Movement IV


      I remember reading an online review for this musical tribute to the Greek painter El Greco and describing the album as being like an old, slightly faded oil painting of some historical subject; it has a rich, historical, medieval flavour and is intense yet muted. Many hail this as being something of a masterpiece, and it is certainly bound to appeal to fans of classical or neo-classical music. As with many Vangelis albums, it’s very much like a soundtrack to a film that was never made, for the music is very evocative and conjures a palpable atmosphere of foreboding tension, subtle drama and flourishes of religious fervour. Those looking for discernable melodies and hooks will be disappointed; the album is more about atmospherics than melody or structure and on that levels works really week. It’s a very long album, with vast stretches of music which unfold in a very unhurried manner. Musically it’s a complete contrast to the albums he’d been producing to this point in the 90s; gone are the gentle electronic soundscapes of ‘Oceanic’ and ‘Voices’ and in its place is a very stark, minimalistic orchestral piece with a somewhat Byzantine flourish, incorporating operatic vocals in a couple of tracks. Personally I find the tone of this album a bit too sombre and stark for my tastes and somewhat overlong, but that is not to mitigate what is really a rather beautiful, understated piece of music. It’s not perhaps an easy listen and isn’t a good stop-off point for newcomers, unless they have a particular love of classical or orchestral works.

      MYTHODEA (2001)

      Introduction (2.43)
      Movement 1 (5.41)
      Movement 2 (5.40)
      Movement 3 (5.51)
      Movement 4 (13.42)
      Movement 5 (6.35)
      Movement 6 (6.26)
      Movement 7 (4.57)
      Movement 8 (3.07)
      Movement 9 (5.00
      Movement 10 (3.03)

      Sounds Like: A classical Greek opera. Bombastic, grandiose and rich - but probably not to everyone’s taste.

      (These videos are from the live Mythodea concert, available on DVD )

      Mythodea Movement 1

      Mythodea, Movement 5


      Although Vangelis has built his career as an electronic composer and was hugely influential as a pioneer in the genres of electronica, trance and chill-out/new age it seems that in his heart he’s happiest when working in the classical genre. With ‘Mythodea’ Vangelis combines an electronic and orchestral symphony with soaring operatic vocals - and the result is a startling, grandiose and furiously bombastic album which follows on from the classical/operatic stylings from previous albums such as ‘Heaven & Hell’, ‘Mask’ and the aforementioned ‘El Greco’ and develops them to the nth degree. The first movement is a wildly bombastic, uplifting number and is a highlight of the album, richly atmospheric and invigorating. The album generally follows a quiet-loud-quiet-loud structure, featuring extensive use of choirs, soprano vocals, strings, wind instruments and percussion. It sounds like classical operatic music; rich, vigorous and atmospheric; but as such, it will not appeal to everyone. Indeed, the album has received mixed reviews from fans and critics. It’s not perhaps the easiest listen or most accessible of Vangelis’s catalogue, so be warned. That said, I find it more enjoyable than ‘El Greco’, which for all its beauty is simply too melancholic for my tastes; ‘Mythodea’ is a more uplifting and vibrant release. It’s fantasically atmospheric and I find it particularly great for playing while I am writing or painting as the music seems to engage and inspire the creative faculties. Aside from the triumphant Movement 1, other standouts include the grand 14-minute epic that is Movement 4, an enchanting and alluring piece which builds remarkably to a bombastic finale, as well as Movement 5 and Movement 9. As I said, this album won’t be to everyone’s taste, but those with a love of classical/operatic music will definitely find it worth checking out; and it is great music for creativity. It also demonstrates Vangelis’s remarkable versatility and talent as a composer.

      ALEXANDER (2004)

      Introduction (1.31)
      Young Alexander (1.35)
      Titans (3.59)
      The Drums of Gaugamela (5.19)
      One Morning at Pella (2.10)
      Roxane’s Dance (3.24)
      Eastern Path (2.58)
      Garden Of Delight (5.23)
      Roxane’s Veil (4.40)
      Bagoas’ Dance (2.28)
      The Charge (1.40)
      Preparation (1.41)
      Across the Mountains (4.12)
      Chant (1.38)
      Immortality (3.18)
      Dream of Babylon (2.40)
      Tender Memories (2.58)
      Eternal Alexander (4.37)
      Bizarre Bazaar (3.52)

      Sounds Like: A rich and varied soundtrack; atmospheric and vital.

      Roxann's Veil


      Titans


      First of all, I have to admit that I’ve not seen ‘Alexander’ and nor do I have any intention of doing so in the immediate future (too many people have told me it’s just so heinously boring that I simply can’t muster the inclination to devote a good three hours of my life to what sounds like a rather rubbish film). However, I can comment on this soundtrack and can safely say that whilst the film was almost universally panned, it can at least boast a rather remarkable soundtrack, one of Vangelis’s best and arguably his finest release in the best part of a decade. Those who want to sample Vangelis at his classical/orchestral best would be well-advised to check this one out; while both ‘El Greco’ and ‘Mythodea’ have their merits, in my opinion this is a more accessible, melodic and varied album.

      It superbly conjures and evokes epic, almost mythical vistas, painting a rich, majestic and atmospheric soundscape that also manages to be intimate, tender and very human. The melodies are strong, catchy and triumphant and the orchestration and arrangements are generally impressive in the extreme. If I was to level any criticism at this it might be the fact that whilst this is indeed an excellent soundtrack, it’s not quite uniquely ‘Vangelis’ as his earlier soundtracks were; some might say that by adopting the more traditional classical/orchestral sound and largely jettisoning the electronic soundscapes for which he became famed, Vangelis has traded his uniqueness and sounds rather like many other contemporary soundtrack composers. But, hey, I’m just playing devil’s advocate here and I don’t want to detract from what is an excellent effort.

      It recalls the sound and atmospherics of ‘1492 - Conquest of Paradise’ with its rich and eclectic styling and ranges from the lush, epic and suitably cinematic anthems of ‘Titans’ and ‘Across the Mountains’ to a number of shorter but beautifully-done pieces which vary in style and sound. Perhaps my favourite track is the extraordinarily beautiful, melodic and melancholic ‘Roxann’s Veil’ which is beautifully composed and performed and hauntingly lovely in its elegant simplicity. It captures the ‘human touch’, the emotion and atmosphere, which Vangelis is so gifted at conveying in his music. Overall I highly recommend this soundtrack regardless of what you might think of the film itself. Like the best soundtracks, it stands out as an excellent piece of music quite independent of the film upon which it is based.

      BLADE RUNNER TRILOGY (25th Anniversay Edition) (2007)

      Disc 1: Original Soundtrack Album
      1 Main Titles (3:42)
      2 Blush Response (5:47)
      3 Wait For Me (5:27)
      4 Rachel’s Song (4:46)
      5 Love Theme (4:56)
      6 One More Kiss, Dear (3:58)
      7 Blade Runner Blues (8:53)
      8 Memories Of Green (5:05)
      9 Tales Of The Future (4:46)
      10 Damask Rose (2:32)
      11 Blade Runner (End Titles) (4:40)
      12 Tears In Rain (3:00)
      Disc 2: Previously Unreleased and Bonus Material
      1 Longing (1:58)
      2 Unveiled Twinkling Space (1:59)
      3 Dr. Tyrell’s Owl (2:40)
      4 At Mr. Chew’s (4:47)
      5 Leo’s Room (2:21)
      6 One Alone (2:23)
      7 Deckard And Roy’s Duel (6:16)
      8 Dr. Tyrell’s Death (3:11)
      9 Desolation Path (5:45)
      10 Empty Streets (6:16)
      11 Mechanical Dolls (2:52)
      12 Fading Away (3:32)

      Disc 3: New 25th Anniversary Material (Inspired by the film)
      1 Launch Approval (1:54)
      2 Up and Running (3:09)
      3 Mail From India (3:27)
      4 BR Downtown (2:27)
      5 Dimitri’s Bar (3:52)
      6 Sweet Solitude (6:56)
      7 No Expectation Boulevard (6:44)
      8 Vadavarot (4:14)
      9 Perfume Exotico (5:19)
      10 Spotkanie Z Matka (5:09)
      11 Piano In An Empty Room (3:37)
      12 Keep Asking (1:29)

      Sounds Like: A 25th anniversary Blade Runner release featuring the groundbreaking original soundtrack plus a disc of additional previously unreleased music from the film and a third disc featuring new music inspired by the film.

      Spotkanie Z Matka

      Up and Running

      Mechanical Dolls


      I’ve already spent considerable time raving about the Blade Runner soundtrack so I’ll try and reign myself in here. If anyone is curious about this celebrated score, then this is the version I suggest you pick up as it features three discs for the price of little over one. The first disc is the same as the original 1994 release. Disc two features additional music from the film, although as many will quickly point out, it is still far from exhaustive and there are many pieces from the film that are still not featured. Frankly, this doesn’t bother me that much - if you want to hear absolutely every piece from the film, then go watch the film. Vangelis has arranged the music perfectly and crafted what’s actually a very subtle, muted sound for disc 2 - it’s quite ambient yet melodic, quiet and atmospheric. Highlights for me include the sensationally tense and eerie ‘Dr Tyrell’s Death’ and the entrancing lullaby that is ‘Mechanical Dolls’. Closing track ‘Fading Away’ is in fact the same as ‘Tears in Rain’, the beautiful music from Roy’s death scene, but with the dialogue omitted and a ‘wind’ effect which is just a little overdone for my taste. This disc is generally quite sedate and subtle.

      Disc 3 is the one that really got me excited as, aside from Mythodea, it’s the closest thing Vangelis has got to producing a studio album in the best part of a decade - and it’s also arguably one of the most interesting, unique, experimental and varied pieces of music he’s crafted in two decades. It sees Vangelis return to electronic music with genuine flourish and flair. This disc is inspired by the film and it certainly conjures images of the dystopian Blade Runner future, evoking the various locales such as overcrowded bars, empty streets shrouded in darkness and a general feeling of unease, intermixed with an undercurrent of unexpected beauty. It reuses themes from Vangelis’s original soundtrack, notably a snippet of vocals from ‘One More Kiss, Dear’ and ‘Rachel’s Song’, crafting these recognisable motifs into something new and fresh. Like the best Vangelis albums, the pace is spot on, balancing the more uptempo and aggressive numbers with gentler interludes. Highlights include the infectiously vibrant ‘Up and Running’, the rather warped, bizarre but evocative ‘BR Downtown’, the jazzy flourishes of ‘Sweet Solitude’, the mournful, lovely ‘Spotkanie Z Matka’ and ‘Piano In An Empty Room’, a minimalistic but gorgeous piano solo. All in all, it’s an impressive return for Vangelis at a time when his output has become anything but prolific. Highly recommended.
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      EL GRECO (Soundtrack) (2007)

      Part 1 (3.58)
      Part 2 (1.55)
      Part 3 (4.19)
      Part 4 (2.25)
      Part 5 (Traditional) (3.06)
      Part 6 (2.05)
      Part 7 (1.29)
      Part 8 (Psarantois) (1.55)
      Part 9 (1.00)
      Part 10 (1.50)
      Part 11 (2.49)
      Part 12 (4.55)
      Part 13 (2.36)
      Part 14 (1.06)
      Part 15 (2.39)
      Part 16 (2.45)
      Part 17 ( 2.28)
      Part 18 (3.15)

      Sounds Like: A subtle, understated film score, quietly atmospheric and evocative

      El Greco Part 18

      El Greco Part 12


      Not to be confused with his studio album tribute to the Greek artist El Greco, this is actually a soundtrack to a film biography of the painter and was released a couple of years ago. Personally I don’t find it to be one of Vangelis’s more exceptional film scores, and it doesn’t contain any real identifiably ‘Vangelis’ hallmarks, but in recent years he has largely set aside the keyboard experimentation for more traditionally styled releases. On the positive side, he’s undeniably a skilled composer and his work exudes quality and a certain depth and resonance. But conversely, his work has lost some of its uniqueness, as evidenced here: it’s an undeniably well-made soundtrack, but it could have been done by any number of other contemporary film composers. Unlike his earlier soundtracks, where Vangelis took only a few themes from the film and crafted them into full-length tracks, this is a collection of numerous short segments, often lasting little over a minute, but seamlessly blended into a satisfyingly smooth and cohesive whole. The orchestral nature of the music effectively captures the era and crafts an evocative and atmospheric mood, making it perfect music for me to have on in the background as I write. If you’re looking for catchy melodies and epic bombast, you’d be better advised to check out his previous ‘Alexander’ soundtrack. This is subtle background music, accomplished and well-executed but it doesn’t grab you by the throat as the best Vangelis soundtracks do. This is more one to allow to wash over you as you soak up the atmosphere.

      And, that’s about it! Apart from a couple of tracks composed for a film about the Pope, this is the most recent Vangelis output covered. I guess he’s semi-retired now, judging by the gradual but steady decrease in his releases. But I do hope that he will produce more work - and hopefully another studio album - sometime in the not too distant future.
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