I wasn’t kidding, those few days ago.
So I actually took my own advice and did what I told you all to do: Went out in shitty weather, to a shitty place, with great music in my ears.
You’re a seeing a picture I took during the trip.
Sitting in the bus, lights streaking past me, suddenly a set of blue-lit windows, out of nowhere. So I took a quick snap.
All while listening to the Blade Runner OST.
And the Blade Runner Soundtrack is just… It’s sublime.
It will forever be Vangelis’ masterwork for me.
Especially in the Esper Edition Mk.2 Bootleg I have at home. That thing is a fucking treasure. It’s something techno-barbarians in a post-apocalyptic future will fight bloody wars over.
You think I’m joking? … I’m not.
It’s one of my most treasured musical possessions.
Getting it was stupidly convoluted, but worth every week spent following up on contacts of contacts of contacts.
It was one of my few real-life Shadowrun moments, tracking down some serious paydata through the ‘net and real-life.
I eventually got a copy in Berlin, during a quick data-drop at the then-central-station shortly before visiting a friend.
I can’t describe the joy I felt when I finally had in my hands. (That was before the internet made acquiring it a triviality…)
And the Esper Edition of the OST is, in itself, a piece of Cyberpunk-come-alive artefact.
It was compiled by serious Vangelis freaks, using studio-sourced cut tracks and full-length versions of songs you only hear snippets of in the movie. They spend considerable time, effort and energy to bring all of it together and compile it into a near-perfect whole. Extending a masterful soundtrack into a sublime one.
And it remains a timeless classic. Both in its original form, and as the Esper Edition.
It’s just so… Perfectly dark, moody, intense and powerful.
By now, you’re probably asking yourself what it has to do with Gothtober though, right?
Well… Take one of the coming October nights and put on Blade Runner.
Then turn off the lights, and watch it with your cellphone turned off.
Just like the soundtrack, the movie is dark. Powerful. Intense. Byzantine. Opulent. Grimy.
It’s not The Crow. It’s not Nightmare Before Christmas.
But it’s a very good example of why for me Cyberpunk and Goth always were very intertwined. They feed off the same Zeitgeist and ideas, but simply focus on different aspects of it. And by now, in 2017, most Cyberpunk music is firmly inside the Goth umbrella. Just ask Covenant about Tears In Rain.
I’ll also include an embed to my Shadowrun 2050 playlist at the very end of this post.
You might know a few of the artists contained therein. ;)