emember Logan's Sanctuary, the big-budget, 1978 sequel to the film Logan's Run? The movie where the Domed City survivors find that they can't live past the age of 40 unless a former Sandman named Ian travels to Metropia to discover a cure? Well, don't be surprised if memories of that adventure are a bit hazy. The film doesn't exist. Fortunately, that minor detail hasn't stopped musicians Roger Joseph Manning, Jr. and Brian Reitzell from fashioning a soundtrack for the imaginary movie.
Using vintage 1970s electronic instruments, the duo has created a retro-futuristic assortment of ersatz cues. The opening tune, entitled "Islands in the Sky," mixes a martial rhythm with simplistic artificial noises, generating a classic disco sound. A lazy bossa-nova beat gives "The Game" a brooding, languorous feel, while "Metropia" offers an energetic, resonant urban atmosphere. "Pleasure Dome 12" evokes the programmed pop music of the period, just as the final song on the CD, "The Silver Garden," loosely mimics the synthesizer-based versions of famous classical compositions--in this case, Ravel's "Bolero"--that were common during that era.
The mythical movie even has a prog-rock-tinged main theme, titled "Search for Tomorrow," that fuses vibrant guitars with pretentious lyrics ("Girl, I'm the Prince of the Cosmos. Travel through time with me, show me the stars above"). Photos from the mock production adorn the liner notes, which summarize the film's plot, outlining Ian's journey to Metropia, his experiences in Pleasure Dome 12 and his introduction to Lara, the ravishing Robo-Sex machine operator.
Fake film, real music
Logan's Run spawned a short-lived television series, but no sequel picture ever appeared. That's a shame, especially considering the inventive soundtrack assembled for this follow-up. Although the sparse storyline is derivative--and clearly secondary to the music--the 10 compositions presented on Logan's Sanctuary are captivating, particularly for fans of old-fashioned electronica.
A processed voice declares a "Code Orange" emergency at the start of "Escape," which spotlights echoey radar pings. Combined with percussion that drifts between channels, this tune generates an exciting milieu. "Lara's Rainbow" offers a slower, more sensual environment, with repetitive themes and shimmering synthetic instrumentation that evokes a trippy ambiance. The spaced-out sound underscores Lara's intoxicating beauty while simultaneously alluding to the powerful effects of Raynbo, a designer drug used by Ian and others to enhance their Robo-Sex experiences. "Pleasure Dome 12" further explores this sexual element--its pulsating melody is interspersed with understated moans, oscillating noises and airy, programmed murmurs.
Some of the numbers, such as the listless "Ian's Orbit" and the appropriately named "Endless Tunnels," are overlong (both have running times of approximately six minutes), but, all in all, the cuts are admirable. And with subtle tributes to various synthesizer pioneers--including Kraftwerk and Isao Tomita--sprinkled throughout the album, the compositions will satisfy both SF film buffs and diehard electronic music devotees. As a movie, Logan's Sanctuary may be a complete fabrication, but its soundtrack is a bona fide delight.
