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Like Ridley Scott's 1982 sci-fi masterpiece itself (based on the Phillip K. Dick's absorbing novel "Do Androids Dream Of Electric Sheep"), renowned film-composer Vangelis' (the man behind the classic Chariots Of Fire theme) score is dense with a cold, day-for-night [link widoczny dla zalogowanych], and film-noir-esque atmosphere that is somehow every bit as beautiful and enticing as it is unnatural, post-modern, and haunting.
A sort of artificial-feeling beauty singular to the setting, characters, narrative, and ideas behind the film itself. Ideas, setting, and characters which are referenced at various points throughout the soundtrack in the form of haunting and thought-provoking clips of dialogue [link widoczny dla zalogowanych], as in the brooding opening to the sprawling and subtle electronica soundscape of "Blush Response", which takes a snippet of the exchange when Harrison Ford's Rick Deckard meets Sean Young's Rachel for the first time and discusses the ethics of his work as bounty-hunter.
Blade Runner's Dystopian Sci-Fi Setting
Vangelis' Haunting Experiments In Electronica
In Closing
Which is, taking the many brave and mesmerizing electronica and orchestral experiments into consideration, where the album, like the film and it's source material, finds it's greatest strength and enduring meaning. That [link widoczny dla zalogowanych], ultimately, very little separates the natural from the unnatural, be that in the form of man or machine, or beauty and decadence.
And others of which, like the shimmering and fragile "Rachel's Song" and the soulful and saxophone-accompanied "Love Theme", manage to find great beauty, humanity, and warmth out in the furthest reaches of that cold, dark, and alienating sonic void. A sort of beauty made all the more beautiful by it's cold surroundings, and vice versa.
Just one instance of many where the dialogue perfectly puts the music into perspective for the listener while simultaneously giving the less hardcore-fan a human point of entry into the soundtrack's consistently expansive dreamy haze. Something which, on the other hand, one could argue isn't necessary in the slightest at all (in the case of those listeners strictly intending to savor Vangelis' gorgeous score).
Read on
Cargo Film Review
Best Movies Made from Science Fiction Books
The Look of Ridley Scott's Blade Runner
Most of which, as noted before, find themselves within a dark void of unease. One such void that Vangelis explores to the fullest extent, as his artistic visions and glimpses find him experimenting with Middle Eastern-tinged arrangements and deeply primal rhythms, as on the aforementioned "Blush Response" track, heading out into ambient space-rock territory on the graceful, rumbling, and winding album opener "Main Titles", and transcending genres all together on the jazzy-yet-Middle Eastern "Wait For Me".
But, something which doesn't ever overcrowd or overstay it's welcome across the album's fifty-seven minute and twelve-track running time. And thankfully so, as all of the orchestral gems and epic movements to be found within said running time are endlessly absorbing and hypnotic to the fullest extent (and demand attention) as Vangelis takes listeners deep into the heart of one engaging aural soundscape after another. Each filled with just as many glorious details as the next.