Vangelis

Artist: Edgar Rothermich
P: 2012 / 2014
If Edgar Rothermich is indeed a replicant of Vangelis, then his DNA is only one generation away from the source here. Having collaborated with Tangerine Dream member Christopher Franke, Rothermich certainly has the 80′s synth chops to astoundingly recreate “Blade Runner”‘s score from ear alone. Seemingly performed on the original computer banks that “Blade Runner” magically sprang from in Vangelis’ “electronic laboratory,” Rothermich’s gear is perfectly attuned.
Rothermich’s attention to detail is so fastidious that we even get the piano-tapping cue “Deckard’s Dream,” complete with the sound of passing flying cars at its start, and the voices of the Unicorn that marked him as artificial life.

Artist: Michael Hoppe & Vangelis
P: 2004
The search for solace involves a difficult reconciliation of conflicting emotions, pitting one’s need to grieve at odds with a heavy-hearted realization that life, however diminished, must go on. Using an audio palette of grays and dark blues, Michael Hoppe offers Solace as a balm for the soul during such times, "where the dark clouds in life give way to the glow of eternal hope and peace." The clouds never fully lift during the 12 tracks of Solace, which appear to progress in a stages-of-mourning manner. The effect can be moving, even lovely (particularly the grand orchestral opener, "The Majestic Land," one of four splendid selections involving the Prague Symphony -- recorded remotely via an Internet link, of all things). The prevailing mood is melancholy but not quite maudlin; two angelic arias ("Pie Jesu," which Hoppe had written for the memorial service of his wife’s mother, and "Lachrymosa") are tearless, reverent expressions that aspire to the divine. The closing moment of "The Parting," a retooled but otherwise ordinary composition from 1986 that involves Vangelis, finally yields a sense of closure. For those in a state of bereavement, Hoppe’s Solace may offer you comfort. --Terry Wood

Artist: Neuronium & Vangelis
P: 1981/ 2007 / 2022
This new release contains the longer version of IN LONDON (After Hours) , never released previously as it is now on the release in Japan, and also worldwide from Germany
Vangelis & Neuronium the platinum edition. 30th anniversary. During that unforgettable session in 1981, Vangelis and the members of Neuronium made some of the most lucid samples that could be made with synthesizers in the world of cosmic electronic music. Although the original work was recorded by Vangelis on an analog system, at the legendary nemo studio in London, Huygen’s technical expertise has completely remastered the sounds with improved mixing. Listening to the album takes you back to the sound of Vangelis/Neuronium at the end of the 70’s start of the 80’s with the analog sound, sequencers and symphonic atmospheres dominating all other sounds.
However this cd is not just for nostalgia enthusiasts and collectors: the true electronic music in its most cosmic aspect shines through in all its splendor.
Recommended for: instrumental chill out music. Can be used for meditation, as background music for studying or for attentive and profound listening to experience different musical shades.
The use of headphones is recommended.
The legendary session between Neuronium and Vangelis recorded in London at famous Nemo Studios.
Totally 24-bit remastered for this definitive and Platinum edition. A collector's piece on a new luxury finishing and pressing.

Artist: Tyrell Bros.
P: 1997
Cover theme of Blade Runner from Vangelis.
Produced for No More Productions Ltd. Belgium

Artist: V/A
P: 1995
This double CD features some of the best tracks with dreamy titles also out of the Pop-music scene. the second disc features an inspiring instrumental music by H.P. Neuber.

Artist: Software, Hoenig, Eno,
Oldfield, Ashra u.a.
P: 1990
This is one of the early IC Collections with the best tracks from the electronicmusic world, not only with IC releases, more with best of all tracks.


Here the last copy.

Artist: Cusco, Vangelis, Adiemus
P: 1995
This is a collection made by Emi Electrola.

Artist: Neuronium, Vagelis, Grosskopf, Leifeld u.a.
P: 1993
Collection of tracks from the 4U / CMS label. Tracks from releases that are already deleted.

Here the last copy!

Artist: A.Zanni
P: 2001
This is a two track CD-S with dance versions played by A.Zanni of the two legendary Vangelis tracks.

Artist: Vangelis + Irene Papas
P: 1979 / 1988
On this album Vangelis teams up with an old friend (similar to what he did around this time with Jon Anderson on 'Short Stories') who'd worked with him before on the Aphrodite's Child album '666' (as Jon Anderson did likewise on 'Heaven & Hell'). Most songs Greek actress Irene Papas sings on this album are Greek traditionals with the exception of two instrumental tracks by Vangelis. She hasn't got a great voice but quite an effective one, a bit like Marianne Faithful, and she speaks Greek of course. Vangelis makes sparing use of his synthesizers with Papas sometimes even singing on her own or simply accompanied by a single melody-line. He often uses that deep expressive bass-sound also employed on his album 'Earth'. The music itself is rather austere with unsophisticated straight harmonies, while the texts consist of ancient Greek poetry (translated and/or explained in the accompanying booklet in French).
A sincere work by two Greeks keeping the flame of their ancient culture burning.

Artist: Vangelis + Montserrat Caballe
P: 1997
1997 recording from Montserrat Caballe featuring 16 duets with international stars such as Johnny Hallyday and Khadja Nin from France, Carlos Cano from Spain, Marco Masini from Italy, Gotthard from Switzerland, Rene Froger from Holland & others.  Two tracks are exclusive new tracks together with Vangelis.

Here the last copy!

Artist: Vangelis + Montserrat Caballe
P: 1997
1997 recording from Montserrat Caballe & Vangelis, the 3 track version, with the tracks from the CD exclusiv on the CD single.

Here the last copy!

Artist: Vangelis
P: 1992
Vangelis at his VERY best - not one track can be disregarded as 'fluff or filler'. One of the best soundtracks ever made. Synthesizer and choirs at a monumental base.
This is the soundtrack to Ridley Scott's epic film about Christopher Columbus. The story focuses on Columbus' motivations and the consequences of that on the people around it. All this is brought to life by stunning visuals and a remarkable sense of detail. This movie needed an epic soundtrack, and Vangelis skillfully for filled this task.
The recordings on the album differ greatly from those in the film. Some episodes are identical but much of the music on the album is not actually in the movie, or appears in an entirely different form. Even more music appears in the film but not actually on the album. This makes the album seem more like a studio album than like a soundtrack. Many character themes as well as some passages for major turning points in the film (like the storm near the end) are not represented on the album.
What remains of the album however is not less desirable. A magnificent collection of melodic music, filled with choirs as well as appropriate synthesizers and native sounds this album sounds relaxing and exciting at the same time. It can be counted as one of the favorites amongst the fans.
It is also his greatest commercial success so far. Three years after its initial release it was used as personal theme by German boxing champion Henry Maske and re-released on CD single. This triggered a huge hype in Europe hitting the nr. 1 charts positions in Germany, Austria, Portugal, the Netherlands, Belgium and other countries, breaking many sales records (both single and album).

Artist: Vangelis
P: 1976
Vangelis' composing in Albedo 0.39 at times - though not always - seems a bit coarse, abrupt and when it comes to changing keys, simplistic (there should be more modulation involved) and a tad too obvious (arguably, the often maligned but in my view also great Chariots of Fire, for example, is more mature in that respect). However, his craft of composing is sufficiently impressive such that in connection with his truly awesome musical inspiration, the sheer power of his sonic imagination, his innovative and soulful use of synthesizer timbres that also convincingly adapts these to the diverse development stages of a given track, and his astonishing mastery of a great variety of styles, Albedo 0.39 becomes a fantastic and rewarding musical experience. The combination of above virtues also clearly makes Vangelis one of the greatest electronic musicians.
Moreover, the sometimes found simpleness of presentation of musical ideas (there is enough satisfying complexity as well) by Vangelis in Albedo 0.39, rather than routinely being just simplistic, often seems to be the result of a superior musical mind that knows that appropriate simpleness may be useful to achieve a powerful emotional effect. The abrupt transitions in the music and the few sudden - even slightly naive - outbursts of climactic, glorious or triumphant tone (on occasion they seem to symbolize moments of star birth) can be remarkable in their power, and sometimes the sudden transitions in the music appear to be sheer genius, such as in the track Alpha.
In this track of moderate tempo Vangelis paints boldly with broad brush strokes, presenting the original theme and counterthemes to it in varied and inspired ways, with the variations either dropping in suddenly or - towards the end - smoothly developing from the previous material. The large-scale build-up of this 6-minute-piece, easily going from a quiet, delicate "ticking clock" atmosphere to a glorious, free-flowing climax, is simply astonishing. The build-up is able to sustain unerring, powerful directionality over the very diverse stages, a directionality that is also aided by the seamless integration of the solidly driving rock rhythm into the tension of development.
As pointed out by others, the range of music on Albedo 0.39 is huge. You get quality synth-pop (Pulstar; I love those chords ferociously slashing through the music), jamming jazz-rock (Main Sequence), fast-paced and exciting power-rock where the thematic/melodic lines chase with high speed (Nucleogenesis 1 and 2), the above somewhat ballad-like Alpha, and a few quiet pieces that partially show Eastern timbral and melodic influences (especially Freefall).I agree with many reviewers here that Albedo 0.39 is a most important and impressive work of electronic music. And highly enjoyable to!

Two more points:
1. Vangelis' playing of drums and percussion, though maybe not wizzard-hand virtuosic, is musically just awesome. Always the right and amazing accents.
2. Two passages in Albedo 0.39 sound eerily similar to two highly characteristic and very unique passages in Bruckner symphonies, in # 3 (1889 version) and in # 6 (1881). Compare Pulstar 2'52" to 3'10" with 11'08" to 11'28" in the Karajan recording of Bruckner Symphony 3, 1st movement and Nucleogenesis Part I 5'13" to 5'36" with 13'26" to 13'52" in the Karajan recording of Bruckner Symphony 6, 1st movement (the magical soft treatment of the main theme in horns and trumpets leading to the final climax of the coda; the Karajan recordings of these symphonies are the ones to get).--Are these striking similarities pure coincidence?

Artist: Vangelis
P: 2004
Put the saga of history's greatest overachiever -- Macedonian emperor Alexander the Great had conquered 90% of the pre-Christian world before his death at 32 -- in the hands of Hollywood's favorite over-reacher, Oliver Stone, and the result is three-hours of epic blood 'n' bathos.
The soundtrack by Greek synth-score pioneer Vangelis Papathanassiou may be book ended by heroic orchestral/choral pomp of suitable scale and melodic dignity, but they buttress a far more compelling cocktail of primitive martial rhythms ("Drums of Gaugamela") and ancient ethnic-folk conceits ("Roxanne's Dance").
Though his film scores have become increasingly rare since the twin breakthroughs of his Oscar-winning Chariots of Fire and the sci-fi masterpiece Bladerunner, his work here argues that Vangelis' restless curiosity and musical range have only blossomed in the ensuing decades. With the exception of the final, club-targeted bonus cut, gone are his once overt electronics, replaced by a more organic, post-modern sense of fusion that evinces itself seductively on cues like "One Morning at Pella" and "Eastern Path".
Elsewhere, cuts like "Across the Mountains" and "Tender Memories" are powered by Vangelis' trademark graceful lyricism, a trait that helps set this score apart from sword 'n' sandal contemporaries like Gladiator and Troy.

Artist: Vangelis
P: 2004
Put the saga of history's greatest overachiever -- Macedonian emperor Alexander the Great had conquered 90% of the pre-Christian world before his death at 32 -- in the hands of Hollywood's favorite over-reacher, Oliver Stone, and the result is three-hours of epic blood 'n' bathos.
The soundtrack by Greek synth-score pioneer Vangelis Papathanassiou may be book ended by heroic orchestral/choral pomp of suitable scale and melodic dignity, but they buttress a far more compelling cocktail of primitive martial rhythms ("Drums of Gaugamela") and ancient ethnic-folk conceits ("Roxanne's Dance").
Though his film scores have become increasingly rare since the twin breakthroughs of his Oscar-winning Chariots of Fire and the sci-fi masterpiece Bladerunner, his work here argues that Vangelis' restless curiosity and musical range have only blossomed in the ensuing decades. With the exception of the final, club-targeted bonus cut, gone are his once overt electronics, replaced by a more organic, post-modern sense of fusion that evinces itself seductively on cues like "One Morning at Pella" and "Eastern Path".
Elsewhere, cuts like "Across the Mountains" and "Tender Memories" are powered by Vangelis' trademark graceful lyricism, a trait that helps set this score apart from sword 'n' sandal contemporaries like Gladiator and Troy.

 

Artist: Vangelis
P: 1983 / 2015
The music is the famous soundtrack which Vangelis composed for this movie. One of his best music and now you can see what he made it for. This movie was never released in Europe.
Plot: The story of Japan's first scientific expedition to the Antarctic in 1958, where Ushioda and Ochi were confronted by a severe winter with their 15 sled dogs. Forced to abandon their dogs in order to survive, they return a year later to search for them...
Cast: Ken Takakura / Tsunehiko Watase / Eiji Okada / Natsume Masako / Keiko Oginome
Overview: It's a story about Japan's first scientific expedition to the Antarctic in 1958, where Ushioda and Ochi were confronted by a severe winter with their 15 sled dogs. Later they were forced to abandon all of their sled dogs in an attempt to get back home safely. They apologized for not taking the dogs with them, but people were angry and upset that they left all those beloved dogs behind. A year later, when they returned to the Antarctic to search for the dogs, they found something incredible: two of the sled dogs were still alive, against the odds of extreme weather conditions.
 

Artist: Vangelis
P: 2002
This is the musicpiece, Vangelis composed for the football championship 2002 in Korea / Japan.

Here the last copy.