2. Aphrodite’s Child666 (The Apocalypse of John, 13/18)
This would’ve been in my top five for sure – it’s a big, big record for me. It’s incredible on so many levels. If you want a record that illustrates what music can do in a very different sense, this is it. It’s progressive and weird, but it shows you can make a concept album that isn’t awful. I grew up in this little town called Dundas in Ontario – actually, I lived outside it, but all my friends lived in town. And this record is like a mythical record in Dundas, because one of my friends found a copy of it in the middle of the road – just lying there – and he brought it home. I wasn’t doing any drugs at that point, but it was around that time my friends were smoking weed and doing mushrooms and whatever, so finding a beat-up copy of this record and putting it on it was like: "HOLY SHIT!!!" I still can’t really listen to that track that’s just an infinity symbol – I find it uncomfortable. And then there’s ‘The Four Horsemen’ – that’s like the Dundas theme as far as I’m concerned. It captures something of the eccentric spirit of this weird place that I grew up in.
At the time that I found out about this record, the only reason I knew about Vangelis was because of the Chariots Of Fire theme, which was pretty terrible or definitely naff. But I love introducing people to this record because it’s so far away from what they think Vangelis or Demis Roussos would do, even if you know the Blade Runner soundtrack. It’s so far removed from anything that either of those guys was involved in. The music on there is so diverse; each track is completely different. Leading up to the release of the new album I was doing a DJ mix, and because of doing this feature there are now two tracks from this record on that mix! I’d forgotten how fucking good all these tracks are.
