1982’sBlade Runner film one of the reasons a lot of us fell in love with synths. So, with the sequel out, let’s look back on that music.
“It was like being in the cave of a magician,” Ridley Scott says. “I’d be there at 2am … watching him just muck about.”
Vangelis: “I don’t really like working on film … everybody’s under pressure.”
Surely no composer – not even the legendary Wendy Carlos – managed to inspire so many obvious rip-off sound presets. (Barely-veiled references to chariots and fire and Deckard were there just to avoid any doubt.) And Blade Runner is essentially without comparison, with thick synthesizer instrumentations that recall the colors and shapes of orchestral timbres but are simultaneously unmistakably synthetic and new.
In fact, you might reasonably argue that Blade Runner was one of the popular vehicles to introduce the public to the capabilities of the polysynth, after years of rock music dominated by the Minimoog and its ilk.