“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
The long awaited synth collaboration between the East and West of the United States is finally here.
HELIX marks the musical marriage between the Rhode Island songstress Mari Kattman and the man behind everything ASSEMBLAGE 23, Seattle-based Tom Shear.
Kattman, previously of DAY TWELVE and MARI & THE GHOST, debuted with her personal signature sound on a rather fetching long player, ‘Hover’, where she collaborated with Matt Echo. The record settled in a genre of its own and turned many musical heads, including Shear’s.
It wasn’t the first time that his compass pointed East, as the pair had worked together on his side project SURVEILLANCE, where Kattman provided her vocal skills on ‘Husk’ from ‘Oceania’. Tom Shear needs no introduction within the hard core lovers of electronica; being the musical, lyrical and vocal supplier of ASSEMBLAGE 23, which continuously provides top shelf synth offerings, appreciated not only by those “on the verge of collapse”.
It is therefore imaginable that such collaboration is bound to bring miraculous effects and show yet another side to the Seattle based producer. And indeed the new approach comes out on their debut ‘Twin’, especially with the opening ‘Widescreen’, where floatingly gentle melody creates the base for Kattman’s vocal journey further East.
If she’s out to snake whisper, she certainly succeeds, for ‘Anymore’ ushers a change of mood ear worthy a repeat play time. Subtly subdued, yet containing multiple layers of instrumentation courtesy of Shear, it provides an excellent canvas for the voice reminiscent that of Sharleen Spiteri’s. The power of ‘Bird Of Prey’ accents itself in this uptempo gem, where Shear goes vintage musically and on production, while Kattman channels her inner MADONNA, just like MECHA MAIKO had done on her debut ‘Mad But Soft’ couple of months back.
If you’re expecting ‘Kicking & Screaming’ to do what it says on the tin, you’ll be in for a disappointment. This piercing semi-ballad has plenty of subtle power, that’s best served with the addition of darkness, and perhaps it doesn’t prepare for the corker that is ‘Expensive Things’. Here Shear does what Shear does best: takes that beat and twists it into something amazing, adding a pinch of heavy synth and a dollop of ear teasing percussion, interloping with regularly appearing arpeggios and nudges of beats paying homage to vintage DM via ‘Shout’.
This could be a hard act to follow but ‘We Are’ does a good job regardless, changing the feel into a modern offering of off-beat hipster styles, leading into the school disco of ‘Like A Drug’. What SPECTRA PARIS did on ‘Retromachine Betty’, Mari Kattman does here; enhanced by electrifying guitar, fast paced rhythm and plenty of pink and fluffy synths.
While ‘I May Be Wrong’, HELIX keeps going and now Shear joins Kattman on vocals to make it right. This middle of the road track provides a delicate easy listening experience; star gazing and romantic, making Shear sound a tad like Peter Heppner, which is always a good move.
But the ripe beats return suddenly on ‘Live In My Heart’. And what a fast pleasure that is! Kattman goes quirky with her vocal provision and Shear shows he can do the club feel very well. Pure ASHBURY HEIGHTS on steroids, riding on Space Mountain, getting stoned… hang on, that’s LA based NIGHT CLUB… you get the idea!
As all good things have to come to an end, ‘The Beautiful Unseen’ ushers the wrap for the album. Slightly slower, deeper and marvellously executed, where the piano paves the way for the haunting voice and pointed synth, this closing track leaves plenty of thinking space and hope for continuation.
It comes as no surprise that Shear can deliver musically, it’s also not news that Kattman is a valid artist on her own, but those two twinned together provide higher levels of musical enjoyment.
While the debut offering from HELIX may feel like a mixed bag for some and too demure for others, let’s not forget that musical knowhow is deeply ingrained in the pair, and for their first full album as a newly found partnership, ‘Twin’ provides heaps of listening pleasure.
And if it’s too mainstream for you, go and indulge in ASSEMBLAGE 23 instead. Either way, you won’t miss out on the good thing.
Evangelos Odysseas Papathanassiou, otherwise known as VANGELIS, is the Greek Maestro who first made his name as the keyboard player of prog rockers APHRODITE’S CHILD whose lead vocalist was the late Demis Roussos.
However, VANGELIS first sprang to fame in his own country writing a song called ‘Summer Dream’ which was used in the 1968 film ‘Operation Apollo’. APHRODITE’S CHILD were a cult success in Europe. But when the quartet later disbanded, VANGELIS considered an offer from Jon Anderson to join YES as a replacement for Rick Wakeman, but opted to venture out on his own. With a four album deal from RCA, Vangelis embarked on a remarkable solo career where he played virtually everything including guitar, various ethnic instruments, drums and percussion.
He established his iconic Nemo Studios complex near London’s Marble Arch at Hampden Gurney Street which at its peak was equipped with a Minimoog, SCI Prophet 10, Roland SH3a, Roland Jupiter 4, Roland Promars MRS2 Compuphonic, Roland VP330 Vocoder Plus, Roland System 100, Yamaha CS40M, Yamaha CS80, Fender Rhodes, Elka Rhapsody 610, Roland SH2000, Emulator, Yamaha GS2, Yamaha DX7, Roland Juno 106, Roland CR5000 Compurhythm, Drumulator and Linn Drum Computer.
His symphonic electronic style as exemplified by wonderful iconic works such as ‘Pulstar’, ‘Theme From The TV Series ‘Cosmos’ (Movement 3)’ and ‘To The Unknown Man’ won him many admirers. The latter track from 1977 became one of his most captivating recordings. Divided into three parts over nine minutes, it was here that he fully exploited the synthesizer that was to become his signature instrument, the Yamaha CS80.
Considered the Japanese company’s flagship electronic keyboard at the time, as well as being incredibly complex, the Yamaha CS80 boasted a ribbon controller which allowed for Vangelis to apply pitch-bends and glissandos polyphonically, while also boasting velocity-sensitive and after-touch qualities.
Despite the progressive and esoteric nature of his work which often had more in common with classical music, VANGELIS even had a couple of UK Top10 hit singles in ‘I Hear You Now’ and ‘I’ll Find My Way Home’ as part of a successful partnership with Jon Anderson, while another of their songs ‘State of Independence’ from the album ‘The Friends Of Mister Cairo’ was an international hit for Donna Summer; Michael Jackson borrowed the bassline from ‘State of Independence’ and slowed it down for ‘Billie Jean’!
Of course, VANGELIS is best known for his award winning soundtrack work. But such is the timeless quality of his compositions, his music has appeared in period dramas like ‘1492: Conquest of Paradise’ as well as cult science fiction films, most notably ‘Blade Runner’.
But it was with ‘Chariots Of Fire’, a fact-based film about two British athletes in the 1924 Paris Olympics that set him on the path towards a lucrative career in cinema. Composed after watching three run throughs, the film’s opening ‘Titles’ became widely known as ‘Chariots Of Fire’ with its memorable six note melodic phrase. But for the actual ‘Chariots Of Fire’ album, the music was all re-recorded. “A record is something other than a film” VANGELIS said, “There have to be changes – not least of all for artistic reasons.”
Released simultaneously, there was also a vocal adaptation sung by Demis Roussos as ‘Race To The End’ with lyrics by Jon Anderson which VANGELIS produced, while later ‘Chariots Of Fire’ was used for various TV shows, slow-motion sequences and parodies, including the opening ceremony of the 2012 London Olympic Games for a live comedy sequence involving Mr Bean!
But where there’s a hit, there’s a writ and with VANGELIS’ newly acquired worldwide profile came trouble. Greek composer Stavros Logarides claimed ‘Chariots Of Fire’ was plagiarised from his 1975 composition ‘City Of Violets’. Logarides had been a member of the group HUMANITY who VANGELIS had written a song called ‘Bird Of Love’ for, under his pseudonym of Richard Broadbaker which he used several times in his career.
Logarides’ case was not helped by him admitting he hadn’t complained earlier because he had forgotten his own composition, while ‘City Of Violets’ was not officially released until 1987! It was noted that elements had been previously used by VANGELIS in ‘Wake Up’ for APHRODITE’S CHILD that predated ‘City Of Violets’, while ‘Movement 3’ from VANGELIS’ own 1975 album ‘Heaven & Hell’ had similarities to ‘Chariots Of Fire’ too. Thus the judge was satisfied that the key musical sequence where there was a clear similarity was already common in music and the case was resolved in favour of VANGELIS.
Unlike his French contemporary Jean-Michel Jarre, VANGELIS preferred to keep a low profile and eschewed the cityscape concert spectacular as a means of presenting his art. This made him an ideal film composer, with ‘Missing’, ‘Antarctica’, ‘Bounty’, ‘Bitter Moon’, ‘El Greco’ and ‘Alexander’ among his other movie credits.
But while he had a highly prolific period undertaking soundtrack work, VANGELIS found time to work on other projects as well, producing Milva, Ronny, Irene Papas, Montserrat Caballé and naturally, his long-time friend Demis Roussos.
So here are 20 snapshots from the vast catalogue of VANGELIS; not a best of but a listing to capture the diversity of a musician and composer who was a fine trailblazer for electronic music. Presented in chronological order with a limit of one track per album or film project, here is A Beginner’s Guide To VANGELIS.
APHRODITE’S CHILD Spring, Summer, Winter & Fall (1970)
Formed in 1967, as well as Demis Roussos, APHRODITE’S CHILD also included Loukas Sideras and Silver Koulouris. The band attempted to relocate to London but got stuck in Paris, remaining there for several years. Signing to Mercury Records, their 1972 album ‘666’ is now considered a progressive rock landmark although the band had already split by the time of its release. But ‘Spring, Summer, Winter & Fall’ was an earlier non-album single that was a No1 in Italy.
VANGELIS La Petite Fille De La Mer (1970 – released 1973)
While in APHRODITE’S CHILD, VANGELIS was recorded music for a wildlife documentary series directed by Frédéric Rossif for French TV. He recorded a suite of music without seeing any footage and left it to the film makers use as they wished. Very electro-acoustic and ambient in nature, the beautiful ‘La Petite Fille De La Mer’ utilised electric piano, vibes, acoustic guitar and subtle synths. Later pieces like ‘Hymn’ and L’Enfant’ from other Rossif projects formed ‘Opera Sauvage’.
A concept album based on duality, ‘Heaven & Hell’ was ambitiously presented as two full side suites in a vibrant orchestral style with choirs alongside the synths and an array of classical percussion, recorded in VANGELIS’ newly established Nemo Studios in London. Epic and Morricone-like with a haunting vocal from Vana Veroutis, ‘12 O’Clock’ from ‘Heaven & Hell Part II’ showcased a template that would be reprised on ‘Rachel’s Song’ with Mary Hopkin for ‘Blade Runner’.
Available on the album ‘Heaven & Hell’ via Esoteric Recordings
With elements of electronic jazz fusion, ‘Albedo 0.39’ was VANGELIS’ first musical adventure into the cosmos as a concept album themed around space physics. Beginning the album, the cosmic ‘Pulstar’ saw a prominent use of sequencers and a symphonic brass line augmented by synthesized stabs before ending with a burst of the General Post Office speaking clock. Gary Numan sampled the synthesized stabs for the ‘Strange Charm’ title song in 1986.
Available on the album ‘Albedo 0.39’ via Esoteric Recordings
Produced by VANGELIS’ younger brother, the late Niko Papathanassiou, the Latin-tinged ‘Amore’ was co-written for the quirky Italian husband and wife duo CHRISMA by him under his alias of Richard Broadbaker with their vocalist Christina Moser. CHRISMA recorded their 1977 debut album ‘Chinese Restaurant’ at Nemo Studios and while there were further rumours that VANGELIS worked again with CHRISMA thanks to his brother’s involvement, these were neither confirmed or denied.
Originally released as a single via Polydor Records, currently unavailable
With Jean-Michel Jarre hitting the mainstream with his six-part synthesized symphony ‘Oxygene’, VANGELIS proved he could do a lively electronic pop instrumental too with ‘Dervish D’. Using a spinning Roland System 100 sequencer core and a catchy synthesizer melody, this slice of robotic funk grooved with a brilliantly played jazz-inflected solo using Vangelis’ newly acquired Yamaha CS-80 synthesizer and all the manual control features it had at his disposal.
Available on the album ‘Spiral’ via Esoteric Recordings
VANGELIS did his own ‘Popcorn’ with ‘Red Square’, a fun chromatically flavoured electronic disco cover of ‘Waves Of The Danube’ composed in 1880 by the Romanian composer Ion Ivanovich, credited as Branovitch! The other credits were full of playful mystique too, with the track credited to Mama ‘O and produced by Mr Broadbaker, both known VANGELIS pseudonyms; he was nicknamed Papa ‘O as an affectionate abbreviation of his lengthy surname.
Originally released as a single via Logo Records, currently unavailable
VANGELIS had never been to China at the time the album was recorded, but he had developed a passionate fascination for its people, culture and landscape, noting a connection between ethnic Greek and Chinese music. Using traditional elements alongside synthesizers, ‘The Tao Of Love’ was a meditative pentatonic piece inspired by a quote from philosopher Zhuang Zhou. The ‘China’ album was one of the few that VANGELIS promoted with concert appearances.
Available on the album ‘China’ via Esoteric Recordings
Having declined an invitation by Jon Anderson to replace Rick Wakeman in YES, the pair formed a friendship that also led to collaboration. ‘So Long Ago, So Clear’ was the first fruit of labour in 1976, but the dreamy ‘I Hear You Now’ in 1979 with its unusually long instrumental intro and distinctive Anderson falsetto that presented an unexpected hit single. ‘I Hear You Now’ was the template used for the theme tune to the TV soap opera Brookside which first broadcast in 1982.
With an air of European cabaret, chanson stylings, Eno and subtle Hellectro in the ultimate ‘Song For Europe’ driven by a Linn Drum Computer and featuring a number of his trademark sounds, VANGELIS produced and wrote the music for the second single by Rusty Egan’s androgynous protégée Ronny. Despite her first single being produced by Midge Ure and her third helmed by Peter Godwin, Ronny never did achieve the chart success some felt she deserved.
Originally released as a single via Polydor Records, currently unavailable
Having scored an unexpected UK hit with the beautiful synth laden ‘I Hear You Now’, the pair did it again with a song that had not been included on the final tracklisting of their second album ‘The Friends Of Mister Cairo’. Anderson’s lyrics were almost spiritual while the widescreen sonic backing from his Greek chum complimented the mood. Meanwhile, VANGELIS himself was about to enter his most high profile period composing soundtracks for ‘Chariots Of Fire’ and ‘Blade Runner’.
VANGELIS End Titles From Blade Runner (1982 – released 1989)
Dramatic, tense and melodic, VANGELIS’ closing theme succeeded in orchestrating a score using just synths and samples to maintain the futuristic unsettlement of the story based on Philip K Dick’s ‘Do Androids Dream of Electric Sheep?’. However, it was not actually released for the first time until 1989 on the ‘Themes’ compilation; despite being nominated for a BAFTA and Golden Globe for ‘Best Original Score’, a soundtrack album did not see the light of day until 1994.
Available on the album ‘Blade Runner’ via Warner Music Group
VANGELIS Main Theme From Missing (1982 – released 1989)
With beautiful piano and his trademark synths, VANGELIS recorded the soundtrack for ‘Missing’, an American historical drama film directed by Costa-Gavras based on the true story of journalist Charles Horman, who disappeared in the aftermath of the US-backed Chilean coup of 1973 that deposed the democratically elected Salvador Allende. The Main Theme music was particularly moving as it progressively added further layers to its repeating elegiac motif.
Available on the album ‘Themes’ via Polydor Records
VANGELIS applied various pentatonic textures to his icy score for the Japanese film ‘Antarctica’. Directed by Koreyoshi Kurahara, the true story focussed on an ill-fated Japanese scientific expedition to the South Pole and their rescue. In the aftermath, the expedition’s team of dogs were left behind. The movie was a dramatic reconstruction of how the two dogs Taro and Jiro survived in the chilling landscape and greeted their owners when they returned 11 months later.
Available on the album ‘Antarctica’ via Esoteric Recordings
The obligatory previously unreleased track on the 1996 compilation ‘Portraits’ which featured VANGELIS’ solo material alongside his song collaborations with Jon Anderson, this was the opening theme to ‘Sauvage Et Beau’, one of the last nature films VANGELIS did with Frédéric Rossif. Despite its French title, this charming tune took its cue from traditional Greek folk music with sparkling synths taking the place of Bouzoukis.
Greek actress Irene Papas was best known for her role alongside Gregory Peck, Anthony Quinn and David Niven in ‘Guns Of Navarone’. In 1972, she appeared on APHRODITE’S CHILD’s ‘∞’ and began her musical association with VANGELIS. Their first album together ‘Odes’ comprised of Greek folk songs. Meanwhile their second album ‘Rapsodies’ offered electronic renditions of Byzantine hymns of which, ‘Resurrection’ was the most dramatic with its distinct VANGELIS aesthetic.
Available on the album ‘Rapsodies’ via Esoteric Recordings
Following ‘Blade Runner’, VANGELIS teamed up with director Ridley Scott again for a fictionalised story of Christopher Columbus’ travels to the New World. Based on a chord progression from Vivaldi’s ‘La Follia’, the brooding ‘Conquest Of Paradise’ saw The English Chamber Choir make their presence felt over an epic backdrop of synthesized orchestrations, electronic melodies and piano. Such was its rousing qualities, it has been used by both politicians and sports teams!
VANGELIS with STINA NORDENSTAM Ask The Mountains (1995)
Developing on the choral assisted anthemic drama of his soundtrack work, VANGELIS naturally recorded an album called ‘Voices’ which also threw bagpipes into the mix. Vocalists included Caroline Lavelle and Paul Young, but providing her characteristic Nordic idiosyncrasies on ‘Ask The Mountains’ was Stina Nordenstam. A distinct ‘Twin Peaks’ vibe presided over its eight minutes with haunting electronics, piano runs and bursts of abstract sax adding to the airiness.
Available on the VANGELIS album ‘Voices’ via EastWest
Launched in 2004, Rosetta was built by the European Space Agency to perform a detailed study of comet 67P while flying past Mars and several asteroids along the way. VANGELIS was inspired to compose a thematic album following a video call with Dutch astronaut André Kuipers from the International Space Station. Courtesy of a dreamy harpsicord motif, the ‘Rosetta’ title track was highly reminiscent of John Barry and Roy Budd’s classic aesthetics.
Available on the album ‘Rosetta’ via Decca Records
One of VANGELIS’ most recent compositions was a fitting tribute given exclusively to guests attending the Service of Thanksgiving at Westminster Abbey when the late Stephen Hawking’s ashes were interred. Featuring a poignant speech from Professor Hawking himself, Vangelis’ melancholic synth shimmers were a fine musical eulogy. He said: “Through sound and music, the language that I know best, I pay tribute and express my high esteem and respect to this extraordinary man”.
A new fan-made PROPAGANDA video which founder member Ralf Dörper has described as “unglaublich” has just hit the web. Set against ‘The Murder Of Love’ from ‘A Secret Wish’, it reimagines a visit to New York by PROPAGANDA during their ‘Outside World’ tour in 1985 when they performed at the Irving Plaza.
With cinematography by Rick Martinez plus makeup by Connie Ojeda Smith and Jaelene Jaquez, the superb and affectionate visual presentation is directed and edited by Vlad Panov. A humorous and nostalgic tribute to PROPAGANDA, Hannah Fleming and Talia Shvedova as respectfully Claudia Brücken and Susanne Freytag are quite convincing, while Panov himself could pass for Michael Mertens in the way the actors who played Stephen Morris in ’24 Hour Party People’ and ‘Control’ did.
However, Vladimir Putin lookalike Michael DeGrandpre could do with a pair of stack heels or stilts as Ralf Dörper. As is always the way, these type of films play with artistic licence and in this instance, the very tall Düsseldorfer actually declined to be part of the ‘Outside World’ tour so was not even in New York on 26th September 1985.
Ralf Dörper told ELECTRICITYCLUB.CO.UK in Autumn 2012: “I had a quite stubborn view on playing live as PROPAGANDA as I believed it would be not possible to give a proper impression without lifting the studio on stage. And I did not consider it an option to use guest musicians … especially no guitar player.” – their label ZTT just issued a press release to say he was at his day-job in a bank to cover for his absence!
While Dörper continues today touring and recording as a member of DIE KRUPPS, Brücken and Freytag will be opening as xPROPAGANDA for HEAVEN 17 on ‘The Luxury Gap’ tour this Autumn. Meanwhile, Mertens continues as a successful freelance composer whose production company Escape Route has had commissions from Volkswagen, Renault, Ford, Autostadt and C&A.
‘The Murder Of Love’ is from ‘A Secret Wish’, available via BMG in vinyl LP, CD and digital formats
xPROPAGANDA open for HEAVEN 17 on ‘The Luxury Gap’ 35th Anniversary Tour, dates include:
Northampton Roadmender (Friday 9th November), Norwich UEA (Saturday 10th November), Bournemouth O2 Academy (Friday 16th November), Birmingham O2 Institute (Saturday 17th November), Glasgow O2 ABC (Friday 23rd November), Liverpool O2 Academy (Saturday 24 November), London O2 Shepherds Bush Empire (Friday 30th November), Bristol O2 Academy (Saturday 1st December), Manchester O2 Ritz (Friday 7th December), Sheffield O2 Academy (Saturday 8th November)
DIE KRUPPS go on ‘The Machinists United Tour’ with FRONT LINE ASSEMBLY in 2018, dates include:
London O2 Islington Academy (19th August), Paris La Machine (20th August), Utrecht De Helling (21 August), Krefeld Kulturfabrik (22 August), Gothenburg Truck Stop (24 august 2018), Stockholm Klubben (25 August), Wroclaw Stary Klasztor (29 August), Prague Lucerna Music Bar (30 August),
Budapest A38 (31 August), Bratislava Majestic Music Club (1st September), Vienna Viper Room (2nd September, Munich Backstage Halle (4th September), Frankfurt Batschkapp (5th September)
Currently opening for ERASURE in North America, REED & CAROLINE are the quirky Buchla driven duo who in the mission statement for their second album declared “Formulate hypotheses and gather all the facts – it’s science! It’s all about science!”
That second album entitled ‘Hello Science’ was released by Vince Clarke’s Very Records and song titles have included ‘Entropy’, ‘Another Solar System’, ‘Digital Trash’ and ‘Dark Matter’. Like AU REVOIR SIMONE meeting NEW ORDER for a jam session in Greenwich Village, the latter asks “Does dark matter matter?”
‘Dark Matter’ features Ayşe Hassan and Kendra Frost of KITE BASS who join Caroline Schutz for some endearing triple vocal accompaniment, especially in the closing “dah-da-da-da” refrain while also providing dual melodic bass backing to compliment Reed Hays’ electronics.
The appealing tune is now presented in a brand new video accompaniment directed Simon Lowery featuring the entire ‘Dark Matter’ ensemble.
Reed Hays and Caroline Schutz first presented their hybrid of traditionally derived tunes with electronic experimentation on their 2016 debut album ‘Buchla & Singing’, which did what it said on the tin. Hays also hosts a recurring Maker Park Radio series appropriately called ‘The Synthesizer Show’ with Vince Clarke which broadcasts from Staten Island.
In the meantime, REED & CAROLINE continue their Stateside tour with ERASURE until the end of August, while KITE BASE will be opening for NINE INCH NAILS in Washington DC and New York this October as well as New Orleans in November.
REED & CAROLINE open for ERASURE on all remaining dates of their 2018 ‘World Be Gone’ North American tour, further information at http://www.erasureinfo.com/concerts/
KITE BASE play selected dates with NINE INCH NAILS in North America this Autumn, details at http://www.nin.com/live/
Berlin based Norwegian songstress and multi-instrumentalist FARAO could be next to follow her compatriot Susanne Sundfør onto the wider world stage with her brand of prog pop.
The musical vehicle of Kari Jahnsen, FARAO formally launches her second album ‘Pure-O’ with a self-directed and edited video for the captivating ‘Lula Loves You’, an electro driven number laced with sub-bass that is loosely inspired by the David Lynch film ‘Wild At Heart’.
The grainy stoic video gives ample opportunity for gear geeks to play ‘Name That Synth’ and showcases Jahnsen’s new found interest in collecting Soviet-built analogue instruments. Alongside a Formanta Polivoks duophonic, a Elektronika EM-25 string machine can be seen. Meanwhile better known vintage equipment like a Korg Delta and a Sequential Drumtraks also make an appearance.
‘Lula Loves You’ follows the superbly rousing trailer single ‘The Ghost Ship’ which was championed by Hannah Peel when she stood in for Guy Garvey on his BBC 6 Music radio show ‘Finest Hour’ in May. That particular song was about losing a sense of direction but it would seem artistically as least, Jahnsen is focussed, presenting ‘Pure-O’ as her statement on the “the curious dichotomy between beauty and destructiveness in sex and relationships”.
Combining vintage synths, harps, minimalism, disco and even a touch of R’n’B on ‘Pure-O’, FARAO adds some Cold War chic to develop further on that Nordic mystery which won acclaim for her quirky folk-tinged 2015 debut long player ‘Till It’s All Forgotten’.
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, a fact-based film about two British athletes in the 1924 Paris Olympics that set him on the path towards a lucrative career in cinema. Composed after watching three run throughs, the film’s opening ‘Titles’ became widely known as ‘Chariots Of Fire’ with its memorable six note melodic phrase. But for the actual ‘Chariots Of Fire’ album, the music was all re-recorded. “A record is something other than a film” VANGELIS said, “There have to be changes – not least of all for artistic reasons.” 
with lyrics by Jon Anderson which VANGELIS produced, while later ‘Chariots Of Fire’ was used for various TV shows, slow-motion sequences and parodies, including the opening ceremony of the 2012 London Olympic Games for a live comedy sequence involving 
and 
had a classical approach, 2016’s ‘Rosetta’ saw him return to the electronic sound that many knew him best for, while the 2017 
thirteen disc boxed set lavishly celebrated the first stage of his solo career between 1973 to 1985.
is now considered a progressive rock landmark although the band had already split by the time of its release. But ‘Spring, Summer, Winter & Fall’ was an earlier non-album single that was a No1 in Italy.
via Esoteric Recordings
via Esoteric Recordings
via Esoteric Recordings
via Esoteric Recordings
via Esoteric Recordings
via Esoteric Recordings
via Universal Music
via Universal Music
via Warner Music Group
via Polydor Records
comprised of Greek folk songs. Meanwhile their second album ‘Rapsodies’ offered electronic renditions of Byzantine hymns of which, ‘Resurrection’ was the most dramatic with its distinct VANGELIS aesthetic.
via Esoteric Recordings
via EastWest
via EastWest
via Decca Records
, available via BMG in vinyl LP, CD and digital formats
was released by Vince Clarke’s Very Records and song titles have included ‘Entropy’, ‘Another Solar System’, ‘Digital Trash’ and ‘Dark Matter’. Like 
, which did what it said on the tin. Hays also hosts a recurring 
is from the album 
with a self-directed and edited video for the captivating 
, an electro driven number laced with sub-bass that is loosely inspired by the David Lynch film ‘Wild At Heart’.
which was championed by 
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