A welcome absence on Blade Runner 2 credits

Still from Blade Runner

Occasionally a cult classic film's soundtrack becomes a cult classic in its own right and lives on independently from the images.

One of the lasting examples is the soundtrack to Blade Runner, a film very loosely based on Philip K. Dick's classic novel, Do Androids Dream Of Electric Sheep?

Well, the great and seemingly incurable disease that affects the film industry nowadays, a disease that leads to the regurgitation of classics in order to make entirely unnecessary and inevitably flawed remakes, has entered a more acute phase.

Yes, The Magnificent Seven gets a more "ethnically diverse" remake, Ben Hur gets a... well, unclear why, but it gets a remake that is, as expected, an immediate flop with the critics and the public...

The more acute phase of this rather desperate illness is the making of sequels that attempt to "continue" the perfectly rounded script of some cult classic.

There was the Gone With The Wind sequel (a catastrophe of some proportions, from the novel that wanted to be a worthy sequel of the original classic to the film adaptation that promptly sunk into oblivion)... Now we have a Blade Runner sequel...

Decades after the passing of the unique visionary Ph. K. Dick, someone has the ambition to write a "continuation" to the story. And whilst Ridley Scott produces it, Denis Villeneuve directs it.

The postmodern absurdity has already begun, headlines trying to hype the film as something that  "will take care of the original's biggest mystery" - not realizing at all the very plain fact: the mentioned mystery is exactly what, in the director's cut edition, made Blade Runner into what it is.

That very mystery is what added to the film the philosophical depth of Dick's novel that was otherwise so entirely ignored in the film adaptation.

By saying that this "sequel" takes care of that mystery, the makers of Blade Runner 2 state very clearly just how pointless and devoid of any meaning the project is from its very inception.

However, one positive element in this entire disaster in the making is the confirmed absence of Vangelis.

We can place very solid bets on the quality and prompt sinking into oblivion of yet another desperate and absurd attempt to crack open and "expand" on the story that in both literary and cinematographic sense is as complete as it can possibly be. Credit to Villeneuve, he himself called it an "insane project".

At least the soundtrack shall have zero connection with the original, perhaps the only personal connection is that its composer, Johan Johannsson, considers Vangelis as one of his great influences.

Perhaps it is easy to be prejudiced, and hence it is a welcome the fact that Vangelis's unsurpassed score is not botched in any way by himself or someone else for the so-called sequel.

Anyone with aforementioned literary, philosophical or cinematographic expertise on the original can be understandably prejudiced - especially as one of the most intriguing aspects of the original is that the extremely few elements kept from Ph. K. Dick's novel actually work so splendidly in the film.

Nobody questions the award-winning Johannsson's musical abilities, especially considering his non-soundtrack work (albeit in a very familiar sounding minimalist vein that is frankly getting terribly boring and self-referencing in too many composers' output).

However, he has the not quite enviable job to score a remarkably futile film project, which will have all the hallmarks of current commercial trends of desperate blockbuster wannabe projects. What other reason would there be to make a sequel, if not this despair of milking old classics to death.

The fact that Blade Runner 2 (actual title not yet confirmed) will have this marked disconnect from the original's score is a fortunate development...

Not quite sure when Hollywood and some related film factories (if we may use this word for a moment) will cure themselves of this illness, but for now it seems we have to get used to the desperately forced sequels and "continuations".

Kudos to Vangelis for, intentionally or unintentionally, not being part of this absurd cinematic exercise.

Back in full, but gentle, force

Photo: Wing Shya, 2015

Ryuichi Sakamoto, one of the unquantifiable living giants of music, stated just over two years ago that he has to withdraw from his numerous projects due to a throat cancer diagnosis.

In a characteristically humble manner, he was even apologizing to his fans for taking the "unavoidable decision" without being able to state a time frame for his return.

Last year came the superb news, that Sakamoto-san is feeling great and looking forward to returning to work.

The grand Master of infinitely subtle, gentle, but all the more poignant harmonies was back in full force.

His latest project, soon to be released via Milan Records (but already freely streamable), shows that Sakamoto-san is still very much at the dizzying heights of his creative, and above all, expressive force.

His soundtrack for Nagasaki: Memories Of My Son is breathtakingly poignant and emotional in the unique Sakamoto way... It is not a vast orchestral drama, it is not a wall-to-wall sentimental journey.

Instead, the exquisitely delicate, fragile, minimalist patterns, the incredibly restrained subtle orchestrations make it into a maximally powerful emotional journey.

The 28 short tracks to be released on the album are a series of gems that work on their own, too, and take us from the ethereal piano minimalism of How Are You? to the powerfully economical orchestral chords of Human-Induced Tragedy. 

“Simplicity is the ultimate sophistication" said Leonardo da Vinci once... and Ryuichi Sakamoto is, once again, at his most sophisticated in the perfectly distilled apparent simplicity of these tiny pieces.

How can one create such imagery and subtle beauty with a few woodwind notes in Raindrops... or such deep sense of despair without any over-dramatisation in Giving Up ?

Sakamoto-san is truly back, in full force, but a force of such gentleness and of such delicate beauty, that one has to hope this is just one of many more musical journeys he will take us in coming years. 

Prog Godliness

Image by Deborah Anderson

It is much easier to compile a list of music legends whom Jon Anderson has not collaborated with... as the list of collaborations spans from Vangelis to Kitaro to Mike Oldfield.

Plus there is the minor aspect of him having been the genre-defining Yes vocalist for many decades, sporting also a rich solo discography...

His unique and instantly recognizable voice is often instrumental, in the sense that, in the many cases where Jon Anderson is just producing sounds without actually singing words in any language, his voice acts as a rich and versatile instrument.

Some of the resulting unique sonic textures can be witnessed not only on Yes, but also on numerous collaboration albums.

When he does sing even the most banal lyrics in English language, the resulting vocals are projecting the track to entirely other levels... Let's think of just Mike Oldfield's In High Places or Shine, which, without Anderson's vocals, would have remained some run-of-the-mill pop tracks instead of ear-catching compact little sonic journeys.

Well, as of 1 September 2016, Jon Anderson is officially a Prog God :)... The Progressive Music Awards 2016, held in London just under the Globe Theatre, awarded the title to a true legend.

As he is about to reunite with Trevor Rabin and Rick Wakeman, let's hope much more prog godliness will delect his long-standing and new fans...

The legend is back...

After a long hiatus, the unsurpassed synth legend that is Vangelis is back with a new studio album...

It is said to be released on 23 September, and it is a project inspired by, and dedicated to, ESA's Rosetta probe launched in 2004.

The tracks so far released on the internet show that the music, as many fans expressed on forums, thankfully is not a bombastic symphonic score in the vein of the rather controversial Mythodea.

Whilst Vangelis always excelled in orchestral and quasi-orchestral creations, one has to go back to the '70s and '80s to find real emotional punch and intricate musical ideas in the few albums he released in this vein... The more recent output, with the exception of the score for 1492 Conquest of Paradise and El Greco (the studio album, not the soundtrack), was marked by hugely overblown arrangements where the emotional impact and the musical inventiveness has suffered at the expense of wall-to-wall orchestrations.

The teaser tracks (so far a few short excerpts on Youtube) show that this is not a return to the vintage Albedo 0.39 and such space music albums from Vangelis. It sounds like a through-and-through contemporary affair, and the orchestral passages sound more like the epic and passionate sounds of El Greco.

Rosetta's Waltz also shows that, again unlike Mythodea, we shall be treated to incomparably more melodic content and passionate driving arrangements reminiscent of the Vangelis albums of yesteryear.

Let's see how the full album hangs together - alas, we have to wait a couple of months until then...

Deep Mind to the 12th power

Screengrab from Behringer teaser video No. 5

A slight detour into gearheads' territory, as such news don't come around very often.

In 2014, originally based on an interview in Amazona.de, rumours started about Behringer working on an analogue synth.

In 2015, there have been wonderings and wanderings on forums, whether the plans are still "on" or it's all been forgotten.

Well, mid-2016 it is all reality. Cue the to-be-released DeepMind12 analogue splendour...

Whopping 12 voices in an analogue synth, which seems also aided, even augmented according to first impressions (see 5th teaser video below), by digital effects.

So after many years of mixing desks and other audio gizmos of quite respectable caliber, now a whopping synth beast is in the making in their product portfolio.

It appears to have arpeggiator and undoubtedly some more digital control 'oomph', too - if they bolted onto it such a display and digital effects module... Step sequencing please? Pretty please? :)

It will be presented in October it seems, and judging from the videos, it is claimed to have a very "organic" feel when played.

So apart from gearhead enthusiasm, it is yet another "retro" synth beast and it will be interesting to see price point and features compared to e.g. Korg current offering.

The 5 teaser videos so far released by Behringer are below:

1.

2.

3.

4. 

5.

A new underground

WEATNU or "We Are The New Undergound" is a notable development in the rapidly diversifying independent and underground music scene. At its roots, it stands for the more avantgarde, less mainstream, electronic music - as difficult it is to sometimes draw a line between the two.

Emerging with its internet radio and social network presence, and its digital magazine, it has its roots in the avant-garde, and focuses on the art-form of the musician.

It is growing rapidly, as it is about helping the electronic artist through exposure., accepting diverse underground styles from Synthpop to EBM, DnB, IDM, Industrial, Leftfield and avant-garde, indie pop, dreamwave, shoegaze, Indierock, Ethereal, House, Deephouse, Synthwave, even mod music, tracker music, etc.

It is completely free to be part of, and in the landscape of ultra-commercial (and far from indie) music, it is an exciting development - just judging from the number of talents it acquired in its various forums over the past months, it is testament to the tireless work of Almark Thaolen, its founder and curator.

It has just released its first summer compilation CD, too, which alongside endeavours like the Ambient Online yearly compilation initiative curated in the US, give an insight into a rather non-mainstream electronic music scene.

Feeding digital vultures

After two busy summer months, finally returning with a topic that may be of some help to indie/unsigned musicians...

As the late Umberto Eco famously and astutely put it, the internet gives you everything - reliable material and crazy material. One would add, some crazy material is not only unreliable, but it actively seeks your money... for dubious services that contradict basic logic of (in this case) music industry and marketing.

In the case of budding musicians wishing to promote their creations, this far from positive take on the internet's wonders applies very much when it comes to the digital vultures that try to capitalize on musicians' aspirations.

The classic recipe is ubiquitous, unfortunately: myriad so-called "push promotion" websites, twitter accounts and the like try to make musicians believe that they shall make the musicians' creations known to N (N is usually a very eye-watering large number) individuals, organisations, forums etc.

No matter how much one wishes to promote one's beloved musical or other output, one has to ask the fundamental question before clicking on some payment button: even if it is true, what do the recipients of these so-called "promotional" services' messages, tweets etc. think? How do they act when they are bombarded indiscriminately by these myriad messages, all promoting myriad artists they never heard of?

It is a rhetoric question. Please, please, do not feed these vultures... If you find them on forums and blogs, mentioning how many "genuine" cases they made famous, most of those are made up usually or... they represent an infinitesimal proportion of artists that via other channels usually "landed" some sought-after objective for themselves.

Look at the case of licensing services, too - the fundamental rule is that if they promise you licensing deals, placements in adverts, films etc., they must not ask you upfront fees. Any, any, reputable and real agency will make their money by representing that artist - yes, yes, it sounds simple and very basic, but it is astonishing how many budding artists end up feeding these vultures.

Let's just name GoDIY Records here as it is something highly representative of the very professional-looking and -sounding carrot dangling outfits. Because I had the dubious honor of being contacted by them very recently, the email exchanges are highly representative and are a perfect summary of how these outfits' business model runs - and would share the classic steps in shutting their attempts down:

Step 1: Highly professional-looking email, with links to websites and social media profiles. Offering the Moon on a very pleasantly shaped stick, but, beware: setup fees and monthly fees.

Step 2: If the artist asks about these fees' justification, further emails, even very touchingly personal phone calls may follow (!). One feels utterly flattered by such attention. They waive the hefty setup fee, offering to only take monthly membership...

Step 3: If the artist asks: have they even listened to my music and can they describe how it fits their clients' needs?... The answer is usually vague: "we found your tracks on xy (e.g. ReverbNation and the like) sites", and "your sound" is perfect...

Step 4: Artist ask them: how come they have not googled or looked in myriad other places where the music is reachable, why do they build a vague and sweeping opinion based on one or two tracks on an anyway dubious "artist promotion" website? Reaction: usually silence and communication ends.

Step 5 may follow sometimes: Ask them how do they differentiate themselves from other "services" that need upfront fees for the honor of being "represented" and are simply praying on budding artists? Result: usually silence and all communication ends. At least with the mentioned outfit, this, instead of a reply detailing their business model and "success stories", resulted in the (very much expected) silence.

Budding musicians, please, no matter how enticing some vultures sound, please, do ask the pertinent questions.

Corner them.

Use their own rhetoric and probe, probe, probe.

What have you got to lose?

A genuine service (never mind that it would never want money upfront) would be able to answer the basic, but surprisingly effective, probing questions.

You do not offend them. If they are in the business and if they are professional, they a) fully appreciate your objective queries, and their motivations, b) they are after your music and they do not just drop you because of some justified probing questions. If they do, it is already a sign that you should stay well away from them!

The internet has brought countless such digital vultures and, alas, judging by their number, they are making a living because indie/unsigned musicians are feeding them...