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"His use of space - the acoustic resonance of a space where you produce sound - he does this tremendously well, and he uses this as a part of the composition."
"He has an incredible way of creating these big, resonant, atmospheric sound worlds," Jóhannsson says. He saw the original Blade Runner in his native Iceland when he was 13, and he too notes the unique quality of Vangelis' sounds. Jóhann Jóhannsson will compose the score for next year's sequel. That emotion is something Vangelis brought to the original Blade Runner. It doesn't sound just like a real orchestra, but it has that fullness, it has that emotion." "I think that's something, as far as I've seen, that's uniquely Vangelis. "There's a lot of people that are using electronics and samples to imitate orchestras in the studio, but it's not like they're just sitting down and playing it," he says. Quayle says the Greek composer showed him that electronics can have soul and life. One of them is Mac Quayle, who just won an Emmy for his score for the show Mr. Haslinger says Vangelis' music has informed a new generation of composers.
"He plays with the reverb, same way an organist plays with the sound in the church," Haslinger says.
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Haslinger, who now scores the AMC series Halt And Catch Fire, says Vangelis' big sound has its roots in the church.
And he's a master of that particular skill." "Whether it's Blade Runner or the 1492 film. "The key difference is melody," says Paul Haslinger, a member of Tangerine Dream, the German band best known for its '80s soundtracks for Sorcerer, Thief and Risky Business. Artists such as Kraftwerk, John Carpenter and Tangerine Dream are known for layering multiple tracks in the studio. It's no good, I do another one."Īnd that's one of the things that sets him apart from his electronic peers from the 1970s and '80s. "I don't want to say, 'Oh yes, this is good, this is not good, I have to do it again.' I don't want to do it again. "I prefer to have the music as pure as possible," Vangelis says. He says most of his published work - even work from years ago - comes from his first take, with no overdubs.
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So he built his own elaborate synthesizer system, which allows him to perform his music like a full orchestra: all by himself, in real time. "They have complete different logic than the human logic," he says. Vangelis says that most synthesizers aren't well-designed.
"You can imagine like a child sometimes." "You have to go through, sometimes, total dark," Vangelis says. "It's something amazing." Amazing - and disorienting. "I imagine myself being in the position of Rosetta, and going there," Vangelis says. It successfully landed a probe on a comet in 2014 and completed its mission - by total coincidence - within a week of the album's release. Rosetta is a concept album, inspired by the European Space Agency mission of the same name. His music has often been described as "spacey," and his new album, Rosetta, uses his trademark synthesizers to tell a real-life story set in outer space. He went on to compose the original scores for Blade Runner and Carl Sagan's PBS series Cosmos. He won an Academy Award for his original score for Chariots Of Fire, a film remembered as much for its music as anything else.
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"Music is science more than art, and it is the main code of the universe," Vangelis says.Įven if you don't know his name, you know Vangelis.
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