Tangerine dream in Electronic Music

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"Phaedra" (07/23/1996) Rock & Pop Tangerine Dream, Virgin Records (USA)Tangerine Dream: Edgar Froese (guitar, organ, Mellotron, synthesizer, bass instrument); Peter Baumann (flute, electric piano, organ); Chris Franke (keyboards, Moog synthesizer). Widely considered one of Tangerine Dream's masterworks, fallout from the sonic phenomenon that is PHAEDRA can still be found lingering in the ambient movement of the early '90s and in much of contemporary electronica. The aural architecture that the band built from scratch remains unparalleled. Tangerine Dream was truly ahead of its time--the four epic-length tracks on PHAEDRA revealed a band that fully understood--and loved to manipulate--the complex array of knobs, dials, and switches that protruded from their synthesizer facades. The title track is an almost spooky exercise in synth/sequencer tension and dynamics: while eerie atmospheres of Mellotron go head to head with spiraling Moogs, dense, humming sequencer webs percolate along the surface, motile and mobile. The album's closer, "Sequent C," leaves the listener breathless, as black electronic clouds form and dissipate and the surrounding space becomes corporeal sound. PHAEDRA remains one of the seminal recordings of the electronic movement, and stands up--even years later--as an original, stunning piece of music.

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"Mota Atma" (04/29/2003) Rock & Pop Tangerine Dream, TDPOriginal score composed by Edgar and Jerome Froese. Recorded at Pinnacle Studios, London, England. Recording information: Pinnacle Studios, London, England (2003). Arrangers: Edgar Froese; Jerome Froese. MOTA ATMA, the score for an obscure German film released in 2003, continues in the tradition of Tangerine Dream's best soundtrack work. Featuring driving rhythms, Mobius strips of sequenced percussion, and stirring synthesizer melodies, the overall mood is triumphant and upbeat. The opener, "The Courage to Lose," sets up the heraldic theme of the album, with mighty gusts of synthesized bravado giving way to an intentionally aggravating tautness, the aural equivalent of a racecar speeding winningly but still in pointless circles. Composer/leader Edgar Froese, master of the controlled burn, follows this with similar exercises in scintillating tension. "For the Summit Only" makes use of percolating sequencer and stereo placement effects to create a gorgeous dynamic stillness. "No Pleasure No Pain" introduces a welcome lower-register element: a bouncy bassline juxtaposed with an airy, cornet-like synth lead; the bass/treble dialogue suggests the interconnectedness of pleasure and pain. The most interesting track here is "Snow on Angels Feather," one of the most gentle and moving songs in TD's repertoire. That they are still capable of surprises like this is a hopeful sign that Tangerine Dream is in no danger of losing its edge.

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"The Bootmoon Series: Cleveland 1986" (07/12/2005) Electronic Tangerine Dream, United States Of Distribution LTD.Tangerine Dream: Chris Franke, Edgar Froese, Paul Haslinger. Originally part of a fan-based live bootleg recording project called Bootmoon, this recording of the pioneering and influential German electronic outfit Tangerine Dream is part of a series of unadorned live performances (the band habitually added post-production instrumentation and otherwise altered its sound on its official live releases). This mid-1980s performance in Cleveland presents a series of cinematic-sounding compositions that make full use of the available electronic technologies of the period, including sequencers and synthetic percussion, to heighten the sense of musical drama.

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"The Bootmoon Series: Sydney 1982 [Digipak]" (03/09/2004) Rock & Pop Tangerine Dream, United States Of Distribution LTD.Originally part of a fan-based live bootleg project called Bootmoon, this recording of the pioneering and influential German electronic outfit Tangerine Dream is part of a series of unadorned live performances (the band habitually added post-production instrumentation and otherwise altered its sound on its official live releases). Done in Sydney in 1982 (tracks such as the brooding "Ayers Majestic" are nods to notable Australian locations), this double-CD album documents the group at a fascinating point in its evolution, when fully structured compositions, such as the stately "Logos (Part One)," were steadily replacing its original loose, free-form improvisations.

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"The Bootmoon Series: Paris 1981 [Digipak]" (03/09/2004) Rock & Pop Tangerine Dream, United States Of Distribution LTD.Originally part of a fan-based live bootleg project called Bootmoon, this recording of the pioneering and influential German electronic outfit Tangerine Dream is part of a series of unadorned live performances (the band habitually added post-production instrumentation and otherwise altered its sound on its official live releases). Done in Paris in 1981, this double-CD album documents the group at a fascinating point in its evolution, when fully structured compositions were steadily replacing its original loose, free-form improvisations.

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"Live in Montreal, Canada [Digipak]" (02/17/2004) Electronic Tangerine Dream, United States Of Distribution LTD.Tangerine Dream includes: Edgar Froese. Recorded live in Montreal, Canada in 1977. Originally part of a fan-based live bootleg recording project called Bootmoon, this recording of the pioneering and influential German electronic outfit Tangerine Dream is a rare example of an actual unadorned live performance (the band habitually added post-production instrumentation and otherwise altered its sound on its official live releases). Heard here at a mid-1970s creative peak, the group produces sounds that orbit around avant-garde jazz, spacey electronica, and opaque, otherworldly sonic ruminations.

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"Rocking Mars" (01/31/2006) Jazz Instrument Tangerine Dream, Tangerine Dream Int./TDI (Germany)Tangerine Dream: Gerald Gradwohl (guitar); Emil Hachfeld, Edgar Froese, Jerome Froese. Personnel: Gerald Gradwohl (guitar); Edgar Froese, Jerome Froese (keyboards); Emil Hachfeld (drums). Recording information: Cityhall Osnabruck (06/12/1999).

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"East" (03/29/2005) Jazz Instrument Tangerine Dream, Tangerine Dream Int./TDI (Germany)

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"The Bootmoon Series: Brighton 1986" (07/12/2005) Electronic Tangerine Dream, United States Of Distribution LTD.Tangerine Dream: Chris Franke, Edgar Froese, Paul Haslinger.

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"The Bootmoon Series: Ottawa 1986 [Digipak]" (04/20/2004) Rock & Pop Tangerine Dream, United States Of Distribution LTD.Originally part of a fan-based live bootleg project called Bootmoon, this recording of the pioneering and influential German electronic outfit Tangerine Dream is part of a series of unadorned live performances (the band habitually added post-production instrumentation and otherwise altered its sound on its official live releases). Though it has a less pristine sound than the Cleveland show recorded on the same tour, this mid-1980s Ottawa performance has the bonus of a rendering of a Mozart piano concerto, with added electronic frills, in addition to the band's habitual cinematic-sounding compositions of this period.

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"Purgatorio" (10/26/2004) Electronic Tangerine Dream, Tangerine Dream Int./TDI (Germany)Tangerine Dream: Edgar Froese, Jerome Froese. Audio Mixers: Edgar Froese; Thorsten Quaeschning. Recording information: Berlin, Germany; Eastgate Studios, Vienna, Austria. Photographers: Edgar Froese; Monica Froese.

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"Atem [Remaster]" (11/11/2002) Rock & Pop Tangerine Dream, Castle Music Ltd. (UK)Tangerine Dream: Edgar Froese, Peter Baumann, Chris Franke (keyboards, synthesizer). Recorded at Dierks Studio, Cologne, Germany in 1973. Includes liner notes by Paul Russell. Digitally remastered by Thomas Heimann-Trosien (1995 Eastgate Studios, Vienna, Austria). ATEM is a 1973 release by German space rockers Tangerine Dream, featuring "Circulation of Events." Pioneers in the use of synthesizers within a rock format, Tangerine Dream have, since the late-1960s, inspired generations of electronic artists to experiment with subtly evolving ambiences and expansive sonic landscapes. TD's music signaled a sea change in `70s psychedelia from outward-bound blues-based rock experimentation, to the inner-space explorations of ambient electronica. ATEM, released in 1973, marks a transitional period from the group's early free-form electronic style to the propulsive, sequencer-driven trance of their mid-`70s albums. ATEM begins with the ritual majesty of its side-long title track; with a percussive pace that quickens from fits and starts to a furious tribal pounding, "Atem" finally settles into a serene, but ominous, organ drone (eerily resembling composer Gyorgi Ligeti's billowing sound masses on his ATMOSPHERES). The rest of the album ventures down more "kosmische" alleys favored by their German brethren, Popul Vuh and Ash Ra Tempel--taking in everything from unsettling vocalizations, to weird, droning analog electronics. While TD's synth-driven overtone explorations would seem at first blush to be no different than so much New Age fodder, they were, for the time, a radical departure from entrenched trad-rock values. By taking the most salient innovations of German postwar electronic music and applying it to the mind-expanding possibilities of psychedelia, they paved a path for modern-day electronic-oriented forms such as techno and trance.

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"Zeit [Remaster]" (11/11/2002) Rock & Pop Tangerine Dream, Castle Music Ltd. (UK)Tangerine Dream: Edgar Froese, Chris Franke, Peter Baumann. Additional personnel: Steve Schroyder (organ); Florian Fricke (Moog synthesizer); The Cologne Cello Quartett. Recorded at Dierks Studios, Cologne, Germany in 1972. Includes liner notes by Paul Russell. Digitally remastered by Thomas Heimann-Trosien (Eastgate Studios, Vienna, Austria 1995). U.K. reissue. Liner Note Author: Paul Russell. On its first two albums, pioneering electronic Krautrock group Tangerine Dream made clear its intention to use SAUCERFUL OF SECRETS-era Pink Floyd as a jumping-off point for the band's cosmic explorations. While T. Dream was never anyone's idea of a rock band, the first two albums do feature electric guitar and drums used prominently in a way that at least tips its hat to the rock aesthetic. On ZEIT, the group moves definitively away from rock trappings into purely atmospheric, improvised electronics, creating soundscapes alternately ambient and avant-garde. A key factor in this process was the solidification of the personnel. Synthesist Peter Baumann completed the trio lineup that would remain intact for the next five years and create the bulk of what's regarded as the group's classic work. For most of ZEIT, conventional melody and harmony are abandoned completely in favor of pure electronic textures. Things build slowly as waves of analog synth and heavily processed guitar ebb and flow in these largely rhythmless arrangements. Occasional melodic colors do appear in the form of a cello quartet, and the subtly elegant majesty of the group's constantly mutating sonic paintings makes ZEIT sound like the soundtrack to an odd-but-memorable dream.

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"Poland: The Warsaw Concert" (03/17/2003) Rock & Pop Tangerine Dream, Castle Music Ltd. (UK)Tangerine Dream: Edgar Froese, Johannes Schoelling, Christoph Franke. Includes liner notes by Paul Russell. Poland is a classic live set from Tangerine Dream. It was a dramatic event and Edgar Froese, Christoph Franke, and Johannes Schmoelling were up to the task. The original release was a double-vinyl LP. As a CD, it is one disc with four tracks. It makes no sense at all to release a set featuring three of the tracks as Extracts From Poland, but TD did it. It is an excellent CD, but it is -- quite possibly -- the biggest and most outrageous rip-off in e-music history. That includes, by the way, all of the Merzbow discs. At least he is honest. Why would anyone pay full price for two-thirds of the music? The only logical reason for this disc is to abuse the die-hard TD completists and their wallets. For that reason it gets one star. ~ Jim Brenholts The early to mid-'80s were a particularly fertile time for Tangerine Dream: the Froese/Schmoelling/Franke lineup had been together for several years, and they had been quite busy with soundtrack work and had just signed with Zomba Records after a longtime association with Virgin. For this concert (their second appearance behind the Iron Curtain), Tangerine Dream turned in an excellent performance, despite battling technical problems and the extreme cold of the Polish winter. The four long tracks build and unfold slowly, in classic Tangerine Dream style. Poland captures Tangerine Dream at a high point in their career -- before the advent of sampling and the departure of Schmoelling (in 1985). ~ Sean Westergaard

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"Dream Mixes, Vol. 4" (06/01/2004) Rock & Pop Tangerine Dream, Tangerine Dream Int./TDI (Germany)Tangerine Dream: Edgar Froese, Jerome Froese. Personnel: Jerome Froese (guitar). Audio Mixer: Jerome Froese. Recording information: Berlin, Germany (2003); Vienna, Austria (2003).

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