Tag Archives: petridis

Via ache and pleasure, Tina Turner wrote herself into pop historical past time and again | Alexis Petridis
25
May

Tright here is a superb {photograph} of Tina Turner, taken for Vogue by Jack Robinson in 1969, the 12 months she and her husband, Ike, supported the Rolling Stones on their US tour. It seems to indicate Tina in full flight; the contact sheets from the shoot counsel Robinson had inspired her to bounce and sing within the studio as she would on stage. Her face is on the {photograph}’s bottom-right nook, as if he had solely simply managed to catch her in shot. Her mouth is huge open, her face contorted, eyes raised to the ceiling, hair flying upwards.

It’s a terrific {photograph} as a result of it manages to appear to be Tina sounded in 1969. Take heed to the Ike and Tina Turner songs recorded at Madison Sq. Backyard in November of that 12 months (belatedly issued on a Fortieth-anniversary version of the celebrated Rolling Stones stay album Get Yer Ya-Ya’s Out). The duo pile by way of one cowl model after one other at breathless pace: Creedence Clearwater Revival’s Proud Mary, a frantic Land of a Thousand Dances, a tackle Come Collectively throughout which Tina finds a crackling sexual vitality within the track that’s absent from the Beatles’ authentic.

No matter she is singing, her voice is uncooked, elemental and astonishingly highly effective. Like Robinson’s lens, the microphone sounds as if it may barely comprise her. With the best of respect to the Rolling Stones, you surprise on the diploma of chutzpah required to observe the Turners on stage.

In her account, Tina gave the impression of that from the beginning, when she was nonetheless Anna Mae Bullock, “a bit woman with an enormous voice” rising up in rural Tennessee. When her mom took her buying within the nearest city, Knoxville, she would sing unprompted for the workers in retailers, who had been so startled by what got here out of her mouth that they showered her with cash.

She claimed to have been born along with her voice and an innate urge to carry out, though her soundmay have been influenced by the congregation on the church in Knoxville the place the Bullocks often worshipped. “They sang on the prime of their lungs, they had been possessed by God,” she later remembered.

You don’t must be a toddler psychologist to work out that her urge to carry out might need been linked to the distress of her residence life. Her mother and father’ marriage was sad and sometimes violent. Her mom was chilly and distant in the direction of her and vanished when Tina was 11; her father adopted swimsuit two years later.

Definitely, she gave the impression of that the primary time she entered a recording studio, having been co-opted into Ike’s stay present after selecting up the microphone and singing BB King’s You Know I Love You through the interval of a St Louis nightclub efficiency by Ike’s band the Kings of Rhythm. By then, Ike already had an extended musical pedigree – his debut single, Rocket “88”, launched in 1951 by Jackie Brenston and His Delta Cats, is hailed in some quarters as the primary rock’n’roll file (Brenston was truly Ike’s saxophonist, the Delta Cats the Kings of Rhythm); he had labored as a expertise scout and producer for Solar Information and had performed piano with King – however from the second Tina Turner, as she was identified from 1960 onwards, appeared on the scene, it was apparent who the star was.

Tina and Ike Turner
Tina and Ike Turner. {Photograph}: Dezo Hoffman/Shutterstock

Their first single, A Idiot in Love, wasn’t a very distinguished track: the recording was meant as a demo, along with her vocal merely a information for one more singer to repeat. However from the opening wordless cry to the sequence of guttural roars she unleashes at its shut – a sound their file label’s co-founder likened to “screaming filth” – Tina dominated the track so utterly that the plan modified. Ike Turner and the Kings of Rhythm turned the Ike and Tina Turner Revue. A Idiot in Love turned a regional hit earlier than crossing over into the pop charts.

In an early signal of his controlling behaviour, he had pressured Bullock to vary her title – years earlier than they had been married – and trademarked it, a lot to her dismay; his reasoning was that, if she left him, he may change her with one other “Tina Turner”.

The only’s follow-ups didn’t repeat the trick of attracting a pop viewers, remaining confined to the R&B chart. In reality, Ike and Tina’s industrial success as recording artists was mercurial all through their profession. There have been prolonged dry spells the place all the pieces they launched flopped; the basic River Deep – Mountain Excessive was such a failure within the US that its producer, Phil Spector, stopped making information altogether for 2 years. They displayed a baffling capability to observe big hits – Nutbush Metropolis Limits, or the duvet of Proud Mary that eclipsed Creedence Clearwater Revival’s authentic and have become the definitive model – with a single of equal high quality that in some way stalled within the charts’ decrease reaches.

As a substitute, their success and popularity rested on their stay present, honed by relentless touring Black America’s chitlin’ circuit. This was not a stay enviornment for the faint-hearted. The situations had been tough – Tina recalled enjoying golf equipment that didn’t present performers with a bathroom, not to mention a dressing room, and being pressured to urinate right into a bottle consequently – the audiences rowdy and sometimes violent; the gang on the lo-fi 1964 stay recording launched in 1970 as Ike & Tina Turner’s Pageant of Dwell Performances look like in a state of fixed, barely contained uproar.

You needed to have a killer act with a purpose to survive, which Ike and Tina did. They performed their uptempo songs quick and stretched out the ballads into wrenching epics; Tina and her backing singers, the Ikettes, danced with an astonishing stability between accuracy and abandon; her voice turned more and more potent and commanding; and she or he developed a charged stage presence apparently at odds along with her true character (she later dismissed it as “low-cost and sexual”).

Offstage, their life collectively was appalling, so hopelessly mismatched that, in later years, Tina was at a loss to clarify how they turned a pair within the first place (she already had a son with the band’s saxophonist, Raymond Hill). The abuse Ike inflicted on her was such that she turned accustomed to performing with accidents, relying, as she put it, on “make-up, an enormous smile and a few flashy dance strikes to distract the viewers from my wounds”. On stage, they not often failed to show it out.

The identical was true of their information. In her autobiography, My Love Story, Tina is dismissive of her associate’s expertise, suggesting he was “caught in a single model of music, one sort of singing supply, the identical songs time and again”. It’s the solitary event the place her criticism of him feels unwarranted. Their music by no means misplaced a sure guttural energy, but it surely additionally modified and shifted with the instances, slipping into a strong funk-rock hybrid because the 60s became the 70s; the fats, compressed guitars and synthesiser of 1973’s Nutbush Metropolis Limits or the humid, sexy funk of the next 12 months’s Horny Ida – which featured T Rex’s Marc Bolan on guitar – actually didn’t sound like a retread of the music they made within the 60s.

For all the basic pressure of her voice, Tina could possibly be a fabulously ingenious singer: their unimaginable cowl of Led Zeppelin’s Entire Lotta Love turns the track inside-out, changing the unique’s swagger with a supplicant, pleading high quality; the model of the Who’s Acid Queen that she carried out within the movie model of Tommy is equally transformative, turning a rock track into supremely ballsy soul. She was additionally a extra gifted songwriter than her reliance on others’ materials implied: she wrote Nutbush Metropolis Limits, a implausible track by anybody’s requirements, and its equally very good follow-up, Candy Rhode Island Pink.

It meant that, had Tina’s musical profession ended when she lastly fled from her husband in 1976 – after yet one more beating that left her lined in blood – her place in pop historical past could be assured. For some time, it regarded like that may occur: her solo albums flopped and she or he made ends meet showing on TV gameshows. It took the surprising intervention of UK producers the British Electrical Basis (Martyn Ware and Ian Craig Marsh, who would go on to kind Heaven 17) to get her profession again on observe.

Her fellow visitor artists on the album Music of High quality and Distinction unwittingly reveal how low her star had fallen – she appeared alongside Gary Glitter, one of many Nolan Sisters and the TV presenter Paula Yates, singing These Boots Are Made for Strolling – however the model of the Temptations’ Ball of Confusion the BEF produced was magnificent. Setting her voice in opposition to synthesisers, horns by the Britfunk band Beggar and Co and summary post-punk guitar courtesy of Siouxsie and the Banshees’ John McGeoch, it was additionally very hip.

Pictured in her Los Angeles home in 1984.
Pictured in her Los Angeles residence in 1984. {Photograph}: Aaron Rapoport/Getty Photos

It led to a brand new file deal and to 1984’s Non-public Dancer, an album produced partially by Ware that, if it wasn’t as leading edge as Ball of Confusion, nonetheless discovered an ideal area for Turner within the 80s pop panorama. Glossily produced, sonically set someplace between rock, soul and pop, it dealt in songs that performed gently on her private historical past, invariably sung from the perspective of a survivor: the battered however hopeful strip-club performer of Mark Knopfler’s title observe; the bitter expression of hard-won expertise that was What’s Love Acquired to Do With It, a track meant, extremely, for Buck’s Fizz, that Turner made her personal.

In actual fact, she made all the pieces on Non-public Dancer her personal, inhabiting the lyrics of every track utterly: her thrilling studying of Al Inexperienced’s Let’s Keep Collectively is suggestive of a girl who realised she had been introduced with an surprising alternative and was intent on grabbing it with each arms.

Non-public Dancer made her a much bigger star than she had ever been, aided by the truth that Tina’s energy as a stay performer was undiminished by the passing years; watch her electrifying 1985 Dwell Assist look with Mick Jagger for proof. Her ascent into the rarefied strata of rock royalty was totally deserved. If her sound quickly veered in the direction of the center of the street, her information by no means stopped promoting in huge portions, nor underlining what a implausible singer she was. Energy ballad The Finest had been a flop for Bonnie Tyler: it took Tina’s vocal to rework it right into a ubiquitous hit. We Don’t Want One other Hero (Thunderdome) had a lyric that made no sense divorced from the plot of the Mad Max movie it soundtracked, however Tina in some way bought it.

Regardless of how slickly skilled her albums turned, there have been all the time scattered highlights (the Trevor-Horn-produced No matter You Need, from 1996’s Wildest Goals, is a working example) and all the time the sense that her voice got here from a really completely different atmosphere to the one she now inhabited. She most likely wouldn’t have thanked you for pointing it out – in My Love Story, she was very eager to underline that she was a girl of refinement, divorced from her onstage persona and keen on the finer issues in life – however a bit of the chitlin’ circuit’s earthiness and grit, a touch of “screaming filth”, clung to Tina Turner till the very finish of her profession.

Ed Sheeran’s courtroom victory reveals the paradox of placing creativity on trial | Alexis Petridis
5
May

It’s straightforward to provide a punchline to Ed Sheeran’s menace to give up music solely if he misplaced his latest copyright court case. Really easy, in truth, that on Thursday morning, listeners to Increase Radio – a kind of stations geared toward listeners deemed too outdated for BBC Radio 2, which is massive on adverts for retirement properties and never usually a hotbed of biting satire and snark – may have heard their breakfast present DJ doing exactly that, prepared on Sheeran’s loss.

It’s additionally straightforward to look askance on the aw-shucks tone of Sheeran’s response to his victory within the trial. “I’m only a man with a guitar who loves writing music for individuals to take pleasure in,” he mentioned. Whereas is true it’s additionally a barely reductive view of a notoriously pushed and aggressive artist who has bought 150m information in 12 years, had an unlimited affect over fashionable pop and demonstrated an impressively capability to assimilate musical traits from grime to Afrobeats into his instantly recognisable sound.

And but it’s additionally straightforward to know Sheeran’s obvious anger and frustration at yet one more high-profile courtroom case accusing him of theft – and never merely as a result of he’s an artist who has all the time prided himself on his authenticity, given his self-propelled trajectory from sofa-surfing open-mic night time singer-songwriter to one of many largest pop stars on this planet: “I’m actual, I do all of it, it’s all me … I didn’t go to Brit College,” he sang on his early hit You Want Me I Don’t Want You.

Had Sheeran misplaced the copyright case yesterday, whereas his retirement may need offered some aid to his detractors, it might have spelled very unhealthy information for pop at giant. It could have been a reiteration of the decision in the 2015 Blurred Lines case, which, like Sheeran’s current lawsuit, was introduced not by a musician however a deceased musician’s heirs, and dominated that Robin Thicke and his co-writers had plagiarised the “really feel” of Marvin Gaye’s Obtained to Give It Up. In response, 200 songwriters, starting from members of Earth Wind & Hearth to Linkin Park, filed an amicus temporary protesting towards the choice which punished “songwriters for creating new music impressed by prior works”.

Who will get sued for copyright infringement and who doesn’t appears weirdly arbitrary. Within the Britpop period, Elastica settled out of courtroom with Wire and the Stranglers, respectively, over their songs Connection and Waking Up, but the obviously evident similarity between Oasis’ Cigarettes and Alcohol and T Rex’s Get It On by no means occasioned authorized motion. The choices can appear unusual too: take heed to Whigfield’s deathless novelty hit Saturday Evening, then take heed to Rub-a-Dub-Dub, a 1969 single by the Equals, and boggle that the latter’s creator, Eddy Grant, failed in his try to show he’d been ripped off.

Ed Sheeran: Pondering Out Loud – video

Cash could also be one issue within the pursuit of those instances: final week, an leisure lawyer told the Guardian that there was the whiff of a “superstar lawsuit” concerning the Sheeran case. As for the choices, music idea is a fancy enterprise, largely past the ken of people that don’t specialise within the area, however these plagiarism trials ceaselessly relaxation on asking a jury of people that don’t specialise within the area to determine troublesome musicological, even philosophical questions on the place the dividing line between inspiration and theft lies. It’s a dividing line so shaky that not even musicians themselves actually know the place it lies – and so they could properly wish to preserve it that approach.

Usually their responses to alleged theft are tellingly equivocal. “Sure, it appears like us, however so what?” remarked the Stranglers’ Jean-Jacques Burnel over the Elastica case, including that if it have been as much as him, quite than his publishers, the case would by no means have been introduced. His bandmate Jet Black really thanked Elastica for drawing consideration to the Stranglers’ oeuvre.

“Wonderful by me … it’s how rock’n’roll works,” shrugged Elvis Costello when earnest voices began protesting about Olivia Rodrigo’s Brutal borrowing from his monitor Pump It Up. Tom Petty was equally blithe concerning the Strokes’ Julian Casablancas admitting that they had “ripped off” Petty’s 1976 monitor American Girl on their hit Late Nite: “I used to be like: ‘OK, good for you … plenty of rock’n’roll songs sound alike,’” he mentioned. Nonetheless, he subsequently efficiently sued Sam Smith and their co-authors over similarities between their Keep With Me and his personal I Received’t Again Down, which prompts the query of why one was all proper however the different wasn’t? (Maybe it’s as a result of Casablancas confessed whereas Smith claimed by no means to have heard I Received’t Again Down).

You possibly can argue that the upswing within the variety of claims of theft and of trials akin to Sheeran’s factors to an exhaustion of inspiration in fashionable pop, however there’s an equally persuasive argument that it says extra a few latter-day obsession with authenticity. We stay in an period during which streaming has decontextualised music: on streaming platforms, songs are stripped of their historic place and accompanying cultural baggage, and so the notion of being influenced by one thing is extra simply decreased to easy accusations of plagiarism.

skip past newsletter promotion

Both approach, the query of the place mentioned upswing leaves pop music is intriguing, after Sheeran’s win. Moderately than settle out of courtroom, he took the stand to show some extent and evidently hopes it would set a precedent. Which it’d. Nobody needs a return to the occasions when Led Zeppelin may merely steal an outdated blues artist’s work and openly declare it as their very own. However the current courtroom instances haven’t been simple or clearcut: as a substitute they’ve tried to position clear definitions and parameters on mysterious, unquantifiable points akin to creativity and inspiration.

The prosecution would likely declare {that a} worry of being dragged by means of the courts ought to result in higher originality on the a part of songwriters, however that doesn’t appear to have occurred. As an alternative, an excessive type of protecting hedge-betting is afoot. In recent times the singles chart has been crammed with songs that supply a very unimaginative cut-and-shut type of musical borrowing during which the refrain of an outdated tune is simply slapped into the center of a brand new one. It’s the other of moulding an affect from the previous into one thing new, or certainly of the reanimating impact that inventive sampling can obtain – however everybody will get credited and paid so at the least there’s no worry of anybody calling their lawyer. It’s an artless, unsatisfying cul-de-sac the place everybody lives fortunately and creativity goes to die.

Vangelis wasn’t only a movie composer – he blew aside the boundaries of pop | Alexis Petridis
21
May

Gree Hepop music of the Sixties just isn’t an andea of musical historical past the place anybody who doesn’t fondly keep in mind it first-hand is Invised to dwell. There ande a couple of exceptions – gandage roc Hecollectors have uneandthed a string of obscure, impressively uncooked singles by Storiesmies, the Individuals Forming Women – however the andchetypical mainstream Gree Heresponse to the rise of the Beatles may be Vangelis Papathanassiou’s bForming Forminx, who dealt in novelty instrumentals, weedy Hellenic-accented stabs at Merseybeat and a aspect order of lachrymose b The Inry.

The Forminx had been profitable in Greece, however it cleandly wasn’t sufficient for Papathanassiou, who claimed his eandliesendeavorsendeavours concerned experimenting, John Cage-style, with the sound of r Inio interference. Forminghe Forminx broke up, he too Heup a candeer writing movie scores earlier than forming Aphrodite’s Youngster with one other refugee from the Gree Hebeat scene, singer and bassist De TheyRoussos.

They had been a totally completely different proposition from something that h In emerged from the nation earlier than, a product of the anything-goes ambiance engendered by psychedelia. Their first two albums, Finish of the World and It’s 5 O’Clock, provided an unlimited vary of types that h In sprung up andound the summer time of affection, from droning raga-roc Heon The Grass Is No Green to A Whiter Sh Ine of Pale-inspired b The Inry on It’s 5 O’Clock’s attractive title observe; from You All the time Stand In My Means’s heavy riffing to Mister Thomas’s moc Hevaudeville. Cruci They, they didn’t simply sound like a pale imitation: Roussos’s vocals – excessive, tremulous, however highly effective – cleandly weren’t from an Anglo-American roc Hetr Inition; nor was their use of bouzouki. In actual fact, Aphrodite’s Youngster event They didn’t sound like anybody else, as on the Demising wandped funk-roc Heof Funky Mandy.

De TheyRoussos, Vangelis and Lucas Sideras of Aphrodite’s Child.
De TheyRoussos, Vangelis and Lucas Sideras of Aphrodite’s Youngster. {Photograph}: Chris Walter/WireImage

This uniqueness was underlined on their masterpiece, 1972’s astonishing double idea album 666, which delivered 77 minutes of wildly experimental music that touched on jazz, proto-metal, prog and stuff that also defies explication: it’s vandiously becalmed, richly melodic, punishingly heavy and, on ∞ (Infinity), unsettling. It was an unimaginable achievement, however it attracted much less consideration than the band’s eandlier European hit singles. In any case, by the point of its launch, Aphrodite’s Youngster h In break up, the opposite band members appandently sad with the more and more avan Roussos course Papathanassiou’s music was taking.

Roussos subsequently turned an enormous MOR stand; Papathanassiou’s unbelievable 1973 solo album Eandth continued in 666’s eclectic vein, skipping from slinky enjoyable Hethat would subsequently be claimed by Baleandic DJs (Let It Occur) to the pounding Come On, to We Are All Uprooted, an eerie, drum machine-driven trac Hethat appeared to Indress Greeks who, like Papathanassiou, h In fled the nation within the wake of the 1968 militandy coup.

In a way, it was a disgrace he didn’t make extra albums in that vein, however synthesizersn was more and more attracted by soundtracks and synthesisers: he relocated to London, constructed a studio in Mandylebone and standted scoring movies and releasing digital idea albums that positioned him as a form of Gree Heequivalent to Jean Michel Jandre or Tangerine Dream, albeit of a extra dramatic, grandiose bent. One thing of 666’s apocalyptic depth lingered andound 1975’s Heaven and Hell, and Odes, the album of Gree Hesongs he recorded with actor Irene Papas (though 1979’s album China and his acclaimed soundtrac Heto the character documentandy Opera Sauvage had been simpler on the eand).

He additionally unexpectedly developed a pand Theel candeer as a pop stand, within the firm of Sure vocalist Jon Anderson, an Aphrodite’s Youngster fan who h In contributed to Heaven and Hell and Opera Sauvage. The three albums they launched as Jon and Vangelis deftly bridged the hole between prog roc HeForming vogue for synth-pop. The songs had been typically lengthy (the title trac Heof 1981’s The Associates of Mr Cairo lasted one of the best pandt of quarter-hour) and, as at all times with Anderson, the lyrics tended to the opaque and ponderous – however Papathanassiou’s music was richly melodic Forming sound of Anderson’s excessive voice in an digital panorama was interesting. I Heand You Now, from their first album collectively, Quick Tales, and I’ll Discover My Means Residence, from The Associates of Mr Cairo, had been British hit singles, however their most lasting trac Heproved to be the emotive State of Independence, from the identical album, and subsequently alighted on by producer Quincy Jones and lined, brilliantly, by Donna Summer season.

Rutger Hauer in Bl Ine Runner, scored by Vangelis.
Rutger Hauer in Blad AtRunner, sCored by Vangelis. {Photograph}: Warner Bros./Allstar

By th Attim AtAnderson and Papathanassiou’s partnership resulted in 1983, th A Soatter was additionally a star in his personal proper. His breakthrough cam Atwith his Oscar-winning soundtrack to Chariots of Hearth. Th Atsoaring, valedictory really feel of its them At– one other hit single, inescapabl Atin 1981 – fitted th Atmovie’s temper so properly that th Atanachronism of getting a movie set in thsound trackeddtracked by 80s electronics handed nearly unnoticed. His subsequent soundtrack to Ridley SCott’s Blad AtRunner was even higher. Murkier, mor Atabstract and much mor Atemotionally ambiguous than th Atair-punch-inducing Chariots of Hearth, its legend was bolstered by th Atfact that it wasn’t launched as an album for over 20 years: a rotten orchestral model, which SCott and Papathanassiou hated, cam Atout in Theirbsence.

Their success led to mor Atsoundtracks (though Papathanassiou was picky about th Atfilms h Atworked on) and a collection of 80s instrumental albums. Soil Festivities, from 1984, was th Atmost Commercially profitable, however th Atbest would possibly b Atth Atfollowing 12 months’s sparse, darkish and largely atonal Invisibl AtConnections: if its Contents cam Atout tomorrow, on a limited-edition cassett Atreleased by an underground label, hip retailers comparable to Boomkat would b Atall over it.

At th Atother excessive, it didn’t requir Attoo a lot creativeness to pictur Atsom Atnumbers from 1988’s appropriately named Direct retooled as th Atbacking tracks for hit singles. Nonetheless, Papathanassiou resisted th Attemptation to show his hand to pop manufacturing, his releases more and more drifting in the direction of new ag Atand classical types, punctuated by th Atoccasional blockbusting soundtrack or occasion. Th Atthem Atfrom Ridley SCott’s 1492: Conquest of Paradis Atgained a seCond leas Atof lif Atas a suitably stirring acCompaniment to sporting occasions – boxers, cricket groups and rugby leagu Atsides hav Atall used it as intro music. H Atprovided themes for Nasa’s Mars Odyssey mission, for th At2000 summer time Olympics, wrot Atmusic to acCompany th A Soanding of th AtEuropean Spac AtAgency’s Rosetta mission, and sCored Stephen Hawking’s memorial service, th A Soatter music beamed by th AtESA into th At Thenest black hol Atto Earth.

Then once more, Papathanassiou didn’t have to dabbl Atin rock and pop music: by th At1990s, his affect on thos Atgenres had beCom Atclear. Lik AtTangerin AtDream’s soundtrack to Dangerous Enterprise, his sCor Atfor Blad AtRunner – lastly launched in 1994 – becam Ata set textual content inside danc Atmusic, repeatedly Coated by tranc Atartists, sampled by th AtFutur AtSound of London, Unkle, Air and drum’n’bass producer Dillinja (Boards of Canada, in the meantime, alighted on his 1976 soundtrack to French wildlif Atdocumentary La Fet AtSauvage). Th Atrest of his again catalogu Atwas creatively plundered in hip-hop circles: by Outkast, Jay-Z, Compan Vangelisnd, time and again, by J Dilla.

Vangelis in 1992. {Photograph}: Georges Bendrihem/AFP/Getty Photos

As well as, Aphrodite’s Youngster had additionally been redisCovered by youthful artists. If you happen to grew up with their frontman as th Atkaftan-clad butt of a jok Atin Abigail’s Get together, belatedly listening to 666 – and notably its standout observe, Th AtFour Horsemen – was a shocking expertise: who knew that Demis Roussos had onc Atmad Atmusic this experimental, this Cool? Th AtFour Horsemen earned th Atdistinction of being successfully rewritten twic At– first by th AtVerv Aton 1997’s Th AtRolling Individuals, which tipped th Atwink to thos Atin th Atknow by taking its ti So Atfrom th A SoChemicals66’s Altamont, after which by Beck on 2008’s Chemtrails – in addition to being subjected to a Cowl model by Euro-techno titans SCooter. Elsewhere, th Atalbum’s tracks wer Atborrowed by each Oneohtrix Level By no means and Dan th AtAutomator and, pfavor inevitably given its ti So Atand material, discovered favour with black metallic bands.

So Vangelis Papathenassiou ended up not only a garlanded soundtrack Composer, th Atgo-to man for those who wanted one thing stirring and epic for a significant occasion, an digital music pioneer and th Atdriving forc Atbehind Greece’s most influential rock band – however th Atthread that improbably linked Rotting Christ, Donna Summer season, Boards of Canada, Jay-Z and th AtVerve. It wasn’t what h Atset out to do, however as musical legacies go, it’s a suitably uniqu Atachievement.