Vangelis - 1985 - Invisible Connections

Quality: 3.5 out of 5
Trip-O-Meter: 4.25 out of 5

Vangelis went through the 80's best known for his blaring fanfares and creating records that sank deeper and deeper into flashy new age. This collection, however, is extremely ambient and an entirely different creature. Do not come to this album expecting any of Vangelis' trademark melodicism. The sounds of the mostly digital synthesizers are very representative of 80's technology, but Vangelis manages to use these tools in a very tasteful way. I'd be lying though if I say I didn't miss the analog opulence of his 70's work.

While the first half is pretty abstract, the second half of "Invisible Connections" is exactly what you would expect to hear walking into a planetarium around 1987. I mean this as a compliment as I thought planetariums were awesome as an elementary school student at that time. There are plenty of lush pads layered into the track and there were at least five moments where I thought the music was about to shift into the opening music of "Star Trek: The Next Generation." This works for me as well since I still like watching that show. The second two tracks, "Atom Blaster" and "Thermo Vision" are more like a digital update of what Vangelis was doing on Beauborg. I don't like them as much as Beauborg, nor are they as groovy as the opening track. I guess when you're trying to create chaos, the binary 0's and 1's of a digital instrument simply don't work as well as analog unpredictability. Still, both tracks are fine as background music to slowly drive you pleasantly insane.

I don't think that this is quite up to the standard of Vangelis' 70's work, especially when compared to the like-minded Beauborg, but this album is worth a listen for fans of this synth master. The second half of the title track is definitely a great one - it's just too bad that Vangelis couldn't keep my attention fixed quite as well for the other three quarters of the album.

Vangelis - 1978 - Beaubourg

Quality: 4.25 out of 5
Trip-O-Meter: 5 out of 5

I've heard of this album being likened to Vangelis falling on the keys of his Yamaha CS-80 synthesizer while taking a nap. This is very abstract music and there may very well be some truth to that. But hey, if you're going to fall on a synthesizer, the mammoth, horribly expensive, and analog CS-80 is probably a good one to go for. Really, I feel like this is comparable to some of the stuff that Morton Subotnik has been hailed a genius for. Even with the avante-garde instinct at full throttle, hints of Vangelis' melodic instincts shine through. Beaubourg is far from a fan favorite, but I think it ranks as one of Vangelis' best outings.

This is basically one piece of music, split into two album sides. It's not really music to be listened to with a full attention span, nor does it serve as background music. This is simply music that has to be experienced. The esoteric is at center stage here as the music shifts from mood to mood without a comfortable reference point. Otherworldly synth tones attack your ears and evoke a truly alien landscape.

I'll easily admit that this is not for everyone. Much of Vangelis' 70's works aim for grandiose cosmic tones, but this is a different creature entirely. You have to shut off the logical centers of your mind and let the sounds take you where they will. This is late night music to prime your subconscious for the surreal. It's far from perfect, but it contains a visceral wallop that more conventional musics do not. This is what the music of the spheres sound like as they come crashing through Earth.

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Vangelis - 1978 - Beaubourg

Vangelis - 1977 - Spiral

Quality: 4.75 out of 5
Trip-O-Meter: 4.75 out of 5

As far as I'm concerned, Spiral is Vangelis' masterpiece. Much of the prog and rock influences from his past couple albums are minimalized in favor of trance-like sequencing and a wide stage for the spacey synthesizers. It's a little more of a minimal approach, but it allows for Vangelis' melodies to shine through without coming across as cluttered and pompous as my least favorite parts of Heaven and Hell did.

The opening title track has a massive sound backed by a properly spiraling sequencer. This is more like the sound of opening up the gates to Heaven or Hell - your choice which. "Ballad" employs some early vocoding while the grooving "Dervish D" is a perfected form of the electronic groove that Vangelis was playing around with on much of Albedo 0.39. You may note that "To the Common Man" is awfully similar to Vangelis' later Oscar-winning "Chariots of Fire" theme. This more understated track is far superior, though. The album closes with a track somewhat similar in structure to "Spiral," but ends up sounding more like the Electric Light Parade at Disneyland and is the only mild misstep on the album.

Although he doesn't quite make it all the way, Vangelis comes within spitting distance of the rarified electronic air of Klaus Schultze on Spiral. Still, Vangelis' melodic gifts come across well and make this a must hear for fans of 70's electronica.

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Vangelis - 1977 - Spiral

Vangelis - 1976 - Albedo 0.39

Quality: 4.25 out of 5
Trip-O-Meter: 4.25 out of 5

After his journey through Heaven and Hell, Vangelis saw it fit to launch himself into space. I think it suits him a lot better. This sounds an awful lot like the music that Tangerine Dream would make in the mid to late 80's (as well a Vangelis himself), but the funky, clunky analog sounds and 70's production makes this sound far better. The live drums that show up here and there help a lot too. Let's face it, music of this sort walks a fine line between 'awesome' and 'cheesy,' and the digital sheen of the 80's sent these sounds careening over the edge into a new age abyss. But we're looking at Albedo 0.39 for now, and it's the real deal. As far as the orchestral synthesized sub-genre goes, this is space music at its best.

For you Carl Sagan junkies, "Pulstar" and "Alpha" were a few of the tracks that were used in the phenomenal score for Cosmos. There might be some more here as well, but those two were distinctly burned into my head. "Pulstar" features some brains piercing synth stabs while "Alpha" is a perfect crescendo. The other major tracks here are "Main Sequence," which sound like a band of robots playing fusion, and the two part "Nucleogenesis," which most recalls "Heaven and Hell Part 1," except that it's rocked up and sounds far superior to my ears (was this one in Cosmos as well?). There are some enjoyable shorter pieces as well. "Freefall" has a touch of world percussion added to fine effect, and the star chart recitation on the closing title track is fun as well. I think most of my trance music listening is at least in part my trying to recapture the vibe of sitting in a planetarium at age 8, and this one does a fine job of doing that.

Yeah, this music is on the cusp of 'new age,' but I think that term usually applies to failed space or spiritual music. This album definitely gets the space dynamic correct. Vangelis certainly beat both 80's Tangerine Dream and his future self at their own game ten years before the fact.

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Vangelis - 1976 - Albedo 0.39

Vangelis - 1975 - Heaven and Hell

Quality: 3.25 out of 5
Trip-O-Meter: 3.75 out of 5

The way I see it, Vangelis has had four major periods in his career. There's of course his mostly awesome stint with the psychedelic rockin' Aphrodite's Child, his insane experimental/prog period of the early 70's, his 'golden artistic period' of the mid 70's and the new age drivel period he's been often stuck in since about 1979 (there are things like the Blade Runner soundtrack which definitely get a pass). This album is often seen as the start of his most artistically valid period, but to tell the truth I'm not that enamoured with Heaven and Hell. The are some touches of synth and melodic genius sprinkled throughout this record, but Vangelis was going for an orchestral prog vibe that tends to turn me off. If you're into that sort of thing, expect to add another point to the 'quality' meter.

This appears to be a side-long track sort of affair, but I think it would have been a much better for the big 'Heaven and Hell' suites to be split up, or at least given names. It hard for me to conceptualize what's here and separate the wheat from the chaff, so to speak. "Heaven and Hell Part One' starts of well, but the choral vocals get pretty silly a few minutes in and it veers a little too far towards the orchestral prog vibe for my taste. That said the last few minutes of the 15 minute long suite is the music used for the theme to Carl Sagan's Cosmos, and that stands out as one of my favorite pieces of music in general. It's just too bad that I either have to fast forward or listen to pompous choruses and synth themes bellowing into my ear. "So Long Ago, So Clear to Me" doesn't appeal to me at all. Word on the street is that Jon Anderson of Yes and Vangelis were an inspired pairing, but it seems like the most hellish thing here in my view. "Heaven and Hell Part Two" fairs a little better with it's ambient vibe, but there are still a few sections where I see happy elves dancing in the shire or Lord of the Rings pomp instead of the more tripped out soundscapes that I look for in the best 70's electronic records. Like part one, the final section is the spaciest and the best.

I suppose I'm being a little harsh with this album, but it's often held up as Vangelis' masterpiece whereas I prefer pretty much all of his other 70's albums over this one. Still, there are some spots of really great music to be found here, and if you dig Jon Anderson, then you'll have a nice treat under your pillow instead of the turd I found.

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Vangelis - 1975 - Heaven and Hell