reviews - edgar froeseOprettet af Jacob Pertou tir, september 02, 2008 16:45
With only two solo albums to draw on - Aqua and Epsilon In Malaysian
Pale, that is - Brain, Edgar Froese's record company then, releases a
compilation, which has become quite a curiosity.
Side one includes two of the more uptempo tracks from Aqua, Panorphelia and Upland:
Panorphelia has a look of Tangerine Dream, by the use of untypical
sequencer. It makes a fast rhythm, and then it's up to the mellotron to
join the pace.
Bobbly noises and organ peals influence the next track, Upland, which,
at the same time, is well considered and arranged, and yet it includes
the unknown destination of improvisation.
The last 40 seconds are dangerous, because it's a tape played backwards.
If you play this section backwards, you'll get just as sinister piano
playing, exposed to reverb. This piano playing refers to the
semi-acoustically orchestrated music of Oedipus Tyrannos.
Side two, on the other hand, is absolutely the carrot on the stick to
invest in this rather cheap looking compilation, with a cover of a
mouse with a phono-plug on it's tail.
That is Maroubra Bay in its entirety, but definitely not as released on
Epsilon In Malaysian Pale. The version is, of what looks like a fault,
I can, for obvious reasons, not compare with the original, as I've only heard Maroubra Bay in a re-recorded version from 2004.
Haven't I heard that, and probably didn't know it was backwards here, I wouldn't have noticed anything remarkable.
In connection with the conclusion of Upland, there is nothing in
Maroubra Bay (or yaB arbuoraM) to indicate a track, consequently,
played backwards. The floating impulses from mellotron, synthesizers
and sequencers work radiantly, in the reverse order.
This means the composition is very strong, when the original and
perilious intro is placed at the end, which releases a horrifying
reaction. This version is therefore more anxiety-provoking, as it in
contrast to the original, builds up an intensity, instead of toning it
Conclusively, Electronic Dreams is a success (unvoluntarily?), and if
Edgar comes up with the idea to defy Virgin, like he did with Phaedra
2005, then he'd rather release backwards editions, instead of
self-willedly overdubbing and re-recording, as TD's old material, like
it's the case of Maroubra Bay, definitely has more compositoric
potential in a reversed form.
reviews - edgar froeseOprettet af Jacob Pertou tir, september 02, 2008 16:43
Doubting how the future of Tangerine Dream was looking, Edgar Froese
recorded this album, for fun, in some way. It was released on Brain in
1976, and released on compact disc in 1998, in only 1000 copies, on the
German label, Manikin, which bought up parts of Brain’s back catalogue,
but was confronted by Edgar Froese, who meant that he should give
permission to the re-release.
On Macula Transfer the song titles were inspired by flight routes. The
music is high tensioned drama, why it has made me presume that Edgar
suffers from fear of flying.
The album takes off with OS 452, which is a musical dialogue between
has an attempted laidback, outer calmness, while the inner anxiety
tries to oppress the calm façade.
AF 765 is a collision course, where the angst almost becomes morbid. A
two-note sequence pounds away, like a heart struck with panic. A
gradually more and more pessimistic guitar figure is the pilot, trying
to let all hope remain, but ultimately loses it all. Edgar’s voice
experiments are the passenger, whose life passes in review.
Near the end, the sequencer is lightning fast. The fate of the aircraft
is not a big crash, but a fade-out, where it is, in my judgement, an
emergency landing in the last moment.
PA 701 also plays on the on the big drama. Airy mellotron and
polyrhythmic sequencer cause an endorphin rush, exactly like driving
220 km/k in a sports car. You just don’t know, if you like it or not.
Conclusively, manipulated sounds are heard, reminiscent of applauses
after a well accomplished plane ride, a mellotron flute illustrates the
feel of relief, as experienced by the passenger.
Quantas 611 is a nocturnal, very sinister piece, which makes it run
cold down your back. The passenger has entered a state of sleep, where
the smouldering anxieties from previous flights influence the dreams.
IF 810 is a reflexive, melodic piece, where the passenger, has somewhat
accepted his fear of flying. He walks the long way towards the
With Macula Transfer, another gospel is added in the bible of
electronic rock music, where the synthesizer, the mellotron, and the
electric guitar are the trinity. Unfortunately, the album is a bit of
an apocrypha, as the circulation of the album is extremely
insufficient. I, myself, had only a cassette-transfer to CDR, which
played a “little” too fast.(March 2007)
(Although the music is divine, Edgar Froese is not God, under any circumstance.)
reviews - edgar froeseOprettet af Jacob Pertou tir, september 02, 2008 16:42
is Edgar Froese's equivalent to Hyperborea by TD, released the same
year. Like Hyperborea was name after a bitterly cold northern place,
Pinnacle is a western Australian Region, from where, some bizarre rocks
had grown out of the desert sand.
Consequently, the nature has always been inspirational to Edgar Froese,
and the atmospheric music could make a great soundtrack for a stroll in
this fascinating nature.
Specific Gravity Of Smile has a sofisticated complex structure with
well ringing synthesizers and sequencers, could remind one of the White
Eagle title track, due to the somewhat sad melodies. The spectrum of
sounds are in a vast number and they are poetically moody. One of
Froese's best solo compositions, and on par with the mesmerizing
Drunken Mozart In The Desert.
The Light Cone pales the overall impression, for being a tad naïve, and
that drags the rating down to a 9/10. Walkabout has it's best moments
throughout the atmospheric parts.
Pinnacles makes up for the entire second side of the LP, and starts
right away with its repeating and wuthering sequences. In Pinnacles'
finest moments it reaches the same heights as Sphinx Lightning from
Hyperborea - even Drunken Mozart In The Desert, as it also has very
well composed arpeggios. Like a movie review, I will not reveal
anything more, but only encourage you to listen, and swim away in this
beautiful musical landscape.
Like Hyperborea and Ages, this album had to deal with a lot of negative
critique, because of its repetitions, but that's unfair. If you are
about to take a walk in extraordinaire landscapes, Pinnacles should be
the tape in your walkman.
Unfortunately this album was his last true pinnacle. When he
re-launched his solo-carreer in 1995, and later under the moniker of
Edgar W. Froese in 2003 he didn't come up with anything as landmark as
that of the 1974-1983 era.
reviews - edgar froeseOprettet af Jacob Pertou tir, september 02, 2008 16:41
This album is a tribute to the role model Salvador Dali, of whom Edgar met in Spain, 1967.
Edgar has said that his intention about TD was to do in music, what Dali did for the visual art.
However, the inspiration is more evident in the surreal cover, than in
the music. Edgar doesn't "reach that unthinkable sphere beyond all
realities", as he strives for, in the slightly self-important
sleevenotes. Musically compared to that, Dalinetopia is just too
Dalinetopia is a typical outpout from the elderly Froese. Relaxing
music with acceptable moments, but nothing to bear comparison with his
intentions. Perhaps Dalinetiopia is too a personal album, then?
The cd distinguish itself from the fine tracks Daleroshima and Daluminacion.
Do you choose to spend time and money on this album, expect to get bored, as the exciting things are few and far between.
reviews - edgar froeseOprettet af Jacob Pertou tir, september 02, 2008 16:39
The sound of water, a strange synth sound and some digital percussion.
This sums up the ingredients of Edgar W. Froese's reworking of the
first minutes of his first solo album "Aqua" from 1974, released in
2005. One can be happy about this update or one can be angry about what
Froese did to the originals. I belong to those TD fans who don't know
much of Froese's solo records at all, especially as most of them
somehow must be considered as rarities. I never listened to these
original recordings, so the qualities of the "Aqua" remake lie in
something completely different to me, in Froese's ability to combine
the vintage synth, mellotron and organ sound with modern drumming and
A wonderful example is the striking bass synth line that flows through the whole title track. "Aqua"
remains almost untouched in its essence, with smooth organ drones
(reminiscent of TD's "Atem"), bubbling synthesizers (like those on
"Phaedra") and some mellotron solos on top. Everything one can admire
in TD's music of the middle 70's is there, the only exception being the
additional recordings on top of it all. The drumming and modern synth
sounds add a trance-like quality to the whole track that fits quite
well. In fact as I listened to the preview snippet on TD's homepage I
just knew I had to get this CD as soon as possible! Moreover I consider
it the best idea about this re-recording that Froese added modern drum
sounds instead of recreating a rhythm track as it may have been played
in the 70's; there is a sense of adventure in this step. In the last
minutes of this 17 minutes long piece some echoed guitar sounds take
over, the kind of sound Froese played on TD's "Zeit" album in 1972. And
suddenly the muted drum sound in the background doesn't matter at all,
it just fades away, returns and fades again, as if to mirror the
swirling guitar excursion. The sound of water flowing into Edgar
Froese's bathtub closes the track the same way it began.
is up next with modern synth chords and a bubbling
sequencer motiv in the background. Here the reworking seems to be
rather inconspicious, classic mellotron and synthesizer melodies can be
heard. But above it all you can also recognize some tones that can also
be found on recent TD releases and must have been added to the
original. This composition is purely meditative, not too different of
classic TD tracks like "Mysterious Semblance At The Strand Of
Nightmares". What melodies are concerned it is much more interesting
than "Aqua" in fact, at the same time the complete lack of percussion
makes it the perfect counterpart to the opening track. The coda seems
to be a complete new recording added, including these synth carpets
Froese is so fond of.
The sound of a starting plane announces "NGC 891"
a recording on which Chris Franke came on board to add Moog
synthesizer. Soft digital synths and traffic noise glide in, once more
Froese creates a peaceful mood, just the same way as on TD tracks like
"Rubycon Part 1". After almost two minutes a soft sequencer sets in.
Now we're on familiar mid-70's TD ground, somehow minimalistic, yet
very rich at the same time. Here almost no further reworking is audible
(except for some modern synth washes in the background). The music goes
through various phasing effects, even the sequencer disappears at one
point. Different synth and mellotron sounds create a kind of
irresistable interplay, it's not until the sixth minute when some newly
added synths begin to creep in more prominently. But to my ears this
composition is very close to perfection; with the additional harsh
synth melody beginning after seven minutes the track reaches a special
height. Then a completely new coda with harmonic synth chords is added
and the track closes.
A bubbling sequencer sound and a hymnical organ, that's the way "Upland"
creeps in, a track that doesn't seem to have been remixed at all. The
prominent organ sound always reminds me of Popol Vuh's classic "Vuh",
harmonic and melodic but also somehow scary. Like on the two previous
tracks the rhythm is build up by various sequenced synthesizer tones,
but it remains in the background throughout, just setting the scene for
the organ solo. After five and a half minutes the sequencer and organ
gradually disappear, making room for some sections recorded backwards
(I guess these are short piano sections, but I'm not sure about that).
This coda is even more scary than the organ solo.
As a kind of bonus track "Upland Dawn"
is added to the first four tracks. Slowed down bell sounds, the
"Upland" sequencer and organ plus some modern percussion samples are in
the foreground. Then a steady drum beat sets in, much more aggressive
than the drums on "Aqua". Soon the original composition is forgotten
completely and a new synth melody begins, including some samples
sounding a bit like electric guitar chords. This is a radical remix
that almost feels out of place on this CD and to my taste the new
melody line is too simple for its own good. This recording wouldn't be
out of place on "The Dream Mixes" (that was recorded around the same
time as this "Upland" remix, by the way).
Well, everyone who loves
the original "Aqua" may be irritated by these remixed recordings. But
in my opinion this CD is just fantastic, mixing many elements from the
early and mid-70's with the technological possiblities of the new
millennium. And yes, I still love the drums on "Aqua".
Without knowing the original album there is a lot to be discovered
here. And in the case you want your 70's Froese sound unaltered you can
buy a copy of the original "Aqua" on CD, it's still widely available. I
really enjoy the complete Froese CD collection of 2005 and "Aqua" is no