analogharbor442 said:My bone density is quite heavy, if that makes sense, and I find myself experiencing these sudden, inexplicable surges in height—as if I might just hit ninety inches out of nowhere. Is it even possible for one's frame to fluctuate like that? 🙂
What an absolute disaster. Truly, what an utter catastrophe. 😎
Perhaps I should return my attention to Yanni now—though, admittedly, I am in a slightly more lucid state than I was yesterday.
I believe I grasp the underlying objective of this particular thread. It seems someone initiated this discussion with the express intention of getting under my skin, though, upon reflection, I find myself wondering if they were actually successful. Was it truly meant to provoke? Perhaps. But looking at the situation now, it feels like a rather underwhelming attempt.
I find the reasons behind the widespread disdain for Yanni’s music to be quite transparent, though perhaps not particularly profound. However, what I struggle to reconcile is the selective criticism; if one finds Yanni's compositions so objectionable, why is there such an unshakeable devotion to Vangelis? I suppose I spent much of my formative years immersed in the works of Vangelis, and by the time Yanni emerged on the scene all those years ago, I had developed a fairly comprehensive understanding of the nuances within both artists' repertoires. Is it not curious how we choose which legends to embrace and which to cast aside?
Is it not true that Yanni possessed one specific flaw that set him apart from Vangelis? It wasn't a failure of talent, per se, but rather a matter of chronology. He relied heavily on those 1980s synthesizers which, let’s be honest, sound incredibly dated by today's standards. One might argue that even Vangelis couldn't truly escape the relentless march of time, yet there was a discernible difference in their approach. Vangelis seemed to wield his gear with a certain strategic brilliance. Furthermore, wasn't he perhaps the first to constantly chase the cutting edge, always reaching for the newest waveform available? If one looks at the 1988 album *Direct*, it serves as a perfect testament to that very tendency.
On the other hand, Yanni possesses that rather ungrateful aesthetic of some lounge singer from the 1980s—the type you’d encounter performing "Sunshine Reggae" or "Volare" on a hotel terrace for tourists in Orlando. It is quite evident that this particular image hasn't done him any favors, especially when one examines these rather superficial critiques regarding his musical contributions.
Some people have actually gone so far as to draw comparisons between him and Modern Talking. While I will concede that Modern Talking produces some undeniably catchy tunes, let’s be honest: they are essentially just a shallow, minimalist commercial outfit designed for mass consumption. To suggest any level of equivalence between such a group and Yanni is, quite frankly, an exercise in futility. Why must we insist on dragging great artistry down to the level of mere pop filler?
I wouldn’t go so far as to label Yanni’s music as mere kitsch, even if that might be how some people perceive it. There is an undeniable level of virtuosity in his compositions that cannot be ignored. We must remember that Yanni is a formally trained musician and quite an accomplished pianist in his own right. If I were forced to choose, I would argue he holds an edge over Vangelis. You see, Vangelis had a tendency to obsess over a single musical theme, looping it throughout an entire piece—a concept somewhat akin to modern techno production—and then layering sounds and interludes on top of it to build momentum. Ultimately, however, the Vangelis approach often resulted in a sound that felt deeper and more convincing, perhaps because it carried a greater sense of sheer professional gravitas than much of Yanni’s work. Is it possible that we mistake repetition for depth? Or is it simply that one artist mastered the art of the crescendo while the other mastered the art of the loop?
Ultimately, it all comes down to this: in my estimation, Yanni has been tossed into the trash heap for at least 80% sheer stupidity, and quite frankly, it’s an injustice.
If you have actually sat through *Live at the Acropolis*, then I find it impossible to believe you could be anything other than a talentless hack. How else could one craft something as melodically virtuosic, diverse, and genuinely phenomenal as *Standing in motion*? Listening to that live album makes one realize that he remains the only artist working in such an avant-garde vein over the last forty years. And let’s be clear: just because his music isn't minimalist doesn't mean it's kitsch. It is rich, layered, and melodic. To suggest otherwise is as absurd as claiming Mozart was being "kitsch" simply because some Emperor once complained he used "too many notes" and suggested he cut back. Of course, Mozart's response was perfectly measured: he was more than happy to let the Emperor point out exactly which notes to remove.
I have encountered various contemporary New Age musicians and countless relaxation albums attempting to mimic that specific Yanni template, but the results are invariably disappointing. It is almost always some sort of soulless, sterile junk that fails to reach even the most basic level of what Yanni achieves. One eventually discovers that if you grant his music enough time and repeated listens, you can learn to truly appreciate and love it—provided, of course, that you don't allow the man's mustache to cloud your judgment.
Those minor electronic flourishes don't exactly make his music bad, do they? One could argue they are merely incidental. His sheer talent for both composition and piano performance is undeniably apparent on the "In My Time" album from 1993, though I find myself compelled to suggest a different path for the uninitiated. If you truly want to understand his essence, listen to "Tribute" from 1997. It is a remarkably organic affair where those digital trifles are stripped away to a bare minimum. If that record fails to shift your perspective on his artistry, then I fear nothing will. It is a fascinating collection, really; he enlisted some of the finest musicians in the country to lend their skill to the tracks. The result is this curious, beautiful tapestry—a blend of Eastern ethnic motifs, New Age textures, and classical foundations. I would wholeheartedly recommend it to anyone seeking substance. It is a virtuosic work, rich and layered in every sense, from the initial sketches of the compositions to the final, polished performances.
To be perfectly honest, I haven't had the slightest inclination to dwell on Yanni given the rather ungrateful atmosphere surrounding this topic. However, I find it fundamentally unfair to allow this forum to devolve into nothing more than a breeding ground for mockery at his expense. If no one else possesses the fortitude to step up, then I shall take it upon myself to defend him, whether you find my intervention agreeable or not. But how you choose to proceed is entirely up to you. ☕