A few days ago, Greek music lost one of its most famous and beloved composers, Vangelis Papathanasiou - internationally known by first name only. He's mostly celebrated for his Oscar-winning soundtrack work, and as one of the progenitors of New Age, but he started his career in '63 playing organ and writing songs for Forminx, one of the most popular Greek pop bands of the 60's and inventors of the yanka dance craze - at least as everyone in Greece is (still) concerned. In reality Forminx's "Jeronimo Yanka" was based on a Finnish traditional tune called Jenka, but who bothered to check? Similarly, "Rain And Tears" -Vangelis' first big hit with his second, more famous, band Aphrodite's Child- was based on a piece by 17th century composer Johann Pachelbel. What of it? It's not about where your inspiration comes from, it's what you do with it that matters! Aphrodites Child were based in Paris, France, since its members were fleeing the oppressive Greek junta but couldn't get a visa for the UK which was their original target. After releasing seminal prog album 666, they broke up, with singer Demis Roussos enjoying a successfull MOR career and Vangelis delving further into progressive/electronic music. By my count, China was his 7th solo album in as many years, and was inspired by the history, tradition, and music of the Far East. The composer had never visited China, and neither does he explore its culture, tradition, and philosophy in depth. Instead, like so many European orientalists before him, he borrows some elements of its traditional art and derives inspiration from its landscapes to create an Oriental-flavored Western work of art. This doesn't detract a single iota from the album's worth. It's not meant as an introduction to Chinese music but as another exploration of the synthesizer's ability to create enticing soundscapes. This time it's not all electronic though. Vangelis accompanies himself on piano, as well as Chinese flutes, gong, and various plucked instruments, with the only external additions being the playful violin (more Balkan than Chinese-sounding) of "The Plum Blossom" and the narration of an 8th Century Taoist poem on the tranquil "The Little Fete". Despite the overall relaxed feel, the album starts off with a bit of elemental noise gradually settling into a melodic synthesizer piece with recurring electronic tones "Chung Kuo". The evocative piano of "The Long March" is followed by the more upbeat and electronic "The Dragon" with its percussive flourishes."The Tao of Love" is a beautiful oriental melody played on some kind of plucked instrument. "Yin & Yang" also starts with a lovely plucked melody, but this is undermined halfway through by a menacing electronic sound in the background that reminds me of Pink Floyd's "One Of These Days". Thankfully, Vangelis doesn't threaten to cut us into little pieces like Floyd did, and the song ends more or less like it started. "Himalaya" is a long atmospheric synthesizer piece that reminds me of Tangerine Dream whose Klaus Schulze, another wizard of the synthesizer, we also lost very recently. It evokes snowy mountain peaks, and comes to its conclusion with the cinematic "The Summit". All in all an immersive and relaxing experience, it is similar to ambient music but actually has the opposite effect: instead of negating other influences to help you clear your mind, Vangelis fills it with images and sensations taking you on a mental trip to an idealized, completely imaginary, China. If you enjoyed his music for films like "Chariots Of Fire" and "Blade Runner" you should love this, too. If, on the other hand, you're not already a fan of instrumental/synthesizer music, don't expect to be converted after listening to China.
**** for The Long March, The Plum Blossom, The Tao of Love, The Little Fete, Yin & Yang
*** for Chung Kuo, The Dragon, Himalaya, Summit
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