Blade Runner: Official soundtrack from the motion picture
After more than ten years, esoteric composer Vangelis has buried the hatchet with Warner Brothers Records and released the long-lost music to Blade Runner, one of the seminal futurist films of the ’80s.
A moody, evocative electronic score that highlights the alienation, figurative and literal, of lead actor Harrison Ford, these 12 cuts (including several never-before released tracks) will drop you into the dark, wet, haunting streets of post-industrial Los Angeles.
Approx. 65 minutes. Atlantic 82623 (US)
Keith Jarrett walks between two worlds. Known as an exceptionally gifted classical pianist, his improvisational concerts around the world have gained him acclaim for over 20 years. At the same time, he is known as an inventive jazz musician, striving to play something entirely new each time he sits at the keyboard. In a recent Los Angeles Times interview, Jarrett noted that he could not play jazz and classical music within 6 months of each other because the profound differences in compositional thought were too disturbing to him. With this new release, Jarrett returns to the smoky club atmosphere he left decades ago; with a tight trio ensemble, he lights up classic tunes such as Miles Davis’ Solar with energy and straight-ahead ferver. A sure sign of Jarrett’s total involvement: whistles, grunts, and his peculiar keening hum-along which seems to accompany any strenuous Keith Jarrett performance. Approx. 66 minutes. ECM 1531 (US)
Springing from the London Techno-Speed-Rave scene in the late ’80s, Moby made a name for himself with self-propelled dance beats coupled with distinctive keyboard orchestrations. Taking the theme from Twin Peaks, the celebrated American television show, Moby turned it into a darkly themed hit that pushed ravers to the dance floor. In recent years, Moby has shed his “rave scene” label to become involved with musical genres stretching from ambient mood to speed-metal, with jungle-dub thrown in for good measure. Everything Is Wrong showcases most of the above styles successfully. Vegan Moby uses his album to ravage industrial society, and begs us to consider life-affirming alternatives, while his music lets us alternately escape from and dance in the world we all share. Approx. 70 minutes. Elektra 61701-2 (US) Paul and Phil Hartnoll aren’t your ordinary techno-pop stars. Since the brothers started collaborating musically in the early ’80s, they’ve gotten a well-deserved reputation as two of the most original and creative studio artists around. Beginning with the club-hit Chime in 1989, the duo have pumped out three albums of entrancing ambient-synth-laden dance music. Since then, they’ve been in demand, remixing artists from Meat Beat Manifesto to Queen Latifah. Their current release, Snivilisation, is 75 minutes of unyelding hi-nrg atmospherics. Orbital’s sound encompasses sampled ambient sounds, radio and television dialog, and a huge array of sequenced keyboard and percussion, thrown together in startlingly inventive ways. At times, you may hear a starched BBC announcer pose metaphysical questions such as “...are we unique?...” above delicious percussive backbeats. Other tracks feature American televangelism mixed into dance-heavy aural washes. The brothers Orbital still laugh when overeager fans shout, “Techno is the future, guitar music is dead,” but after listening to this album, you have to wonder... Approx. 75 minutes. FFRR 697-124-027-2 (US)
Keith Jarrett: At The Deer Head Inn
Moby: Everything Is Wrong
Orbital: Snivilisation
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