Inferno: "More pretentious than bad Roger Waters"

reviews - 00'sOprettet af Jacob Pertou tor, december 03, 2009 21:16

TANGERINE DREAM, "Inferno" (TDI Music, 1 stars)

Pioneering electronic music group Tangerine Dream was founded by Edgar Froese in Berlin in 1967. A trio for most of its existence, the group underwent numerous personnel changes, but over the last decade settled down to Froese and his son Jerome.

"Inferno" is an aural ordeal, a patchy synthesizer-and-chorale work inspired by Dante's poetic masterpiece and recorded live last year at a cathedral in Bern, Switzerland. At its best ("Before the Closing of the Day," "Io non mor") it offers penetrating neo-classical airs.

At its worst ("The Spirit of Virgil," "At the Deepest Point in Space") this is groggy mood music, more pretentious than bad Roger Waters.

David Hiltbrand

Philadelphia Inquirer, 19th September 2002.

Live In London At The Shepherd's Bush Empire 11 June 2005

reviews - 00'sOprettet af Jacob Pertou tir, december 01, 2009 22:33

Live In London At The Shepherd's Bush Empire 11 June 2005 (Voiceprint VPDVD29)

Distilling 250 hours of recordings into a 167-minute concert, Tangerine Dream celebrated the 35th anniversary of their classic breakthrough album Phaedra with this gig at London's Shepherd's Bush Empire last June. Bathed in blue light and surrounded by banks of synthesizers, Tangerine Dream are among the least animated of bands and, although the images are thus somewhat tedious, the multi-layered krautrock, electronic and new age musical textures sustain interest. The band's only surviving founder member Edgar Froese has assembled a fine collection of musicians to interpret his cerebral music though, ironically, the most energetic piece performed is an incendiary version of Jimi Hendrix's Purple Haze.

Music Week (May 5, 2007), Page 30

Music For Sports - Cool Races, 2009. 2/10

reviews - 00'sOprettet af Jacob Pertou tir, oktober 06, 2009 22:57

It is frustrating to be held hostage in a compilation circus, never seen alike with other bands. Tangerine Dream’s – on the surface – huge productivity, since Edgar Froese launched the first Eastgate release in late 2005, has also been synonymous with countless repeated tracks in a sea of different releases.
The strategy has been to wrap up a few numbers of exclusive, homeless tracks unto single or double disc compilations, only to re-release them a few later with another few new tracks. Und so weiter, und so fort.
The – in the time of writing – two-parted Music For Sports caused a reaction, on Tangerine Dream’s own forum, making use of the word “useless”, which was returned by Eastgate with the slightly self-righteous statement that if useless albums existed in that way of thinking, useless people also existed. And one could just avoid buying this album, instead of moaning – they weren’t aimed at the hardboiled TD fan anyways.
When they refer to other potential markets than their own fans, I become rather sullen, as it’s simply too speculative and arrogant. It’s also pure nonsense.
Music For Sports – Cool Races consists of several tracks you might as well could’ve asked for on other compilations. Eastgate perfectly understands that TD fans collect all their recorded music – and preferably on a physical format, such as a CD.
Therefore I forked out 16 Euros+postage, despite of loud protests, only to acquire those 11 minutes of exclusive music. And I turned out very disappointed.
The Last Goal is a rather dark and thoughtful cut, with nonchalant sequencer and lingering string chords, safely positioning itself in the right side of the ambient highway, without doing any attempt to overtake – to use a Froesesque terminology, more or less.
The First Curve is heard before. At the first listen I could already hum along with the sequencer progression. It has to be a remix – and probably from the impassable Chandra – The Phantom Ferry Part 1.
Musically, this review can be summed up in 78 words, which says a lot about its appeal. I give one point for every new track.
I’m completely indifferent towards the musical quality of the remaining tracks, as they do fit in better in their initial settings. They weren’t meant to pretend sonic tapestry for physical exercise.
No, if you want to hear proper music for sports, you can check out this video clip from "Tim & Eric Awesome Show" with advantage.

New vinyl

reviews - 00'sOprettet af Jacob Pertou søn, oktober 04, 2009 13:37

When the needle hit the groove of the first track on Views From A Red Train, I was mesmerized and found the experience a bit surreal.
I was going to listen to the first full-length vinyl release with "new" music, since Rockoon (from 1992). The music from the period between the Rockoon LP, and these three vinyl re-releases (except for a handful of 12" singles) was not blessed with being cut on this lovely format, and therefore it was hard to relate new TD music with it. But it really worked!

Buying new vinyl can sometimes be a purchase of risk, as many new pressings are terrible. But the 180 gram vinyls are often of very good quality, and sometimes better than cd.
This time no exception, and the digital music sounds more balanced and dynamic on an analogue format.

As you can see the covers are remarkably different to the original ones. Summer In Nagasaki which is only Edgar Froese on the instruments have all band members portrayed on the cover. Some would probably prefer the original covers in the 12" size. I don't mind myself, as I bought the albums for the warm vinyl sound.
The covers are beautifully printed, and this time you don't need a magnifying glass to read the cover notes!

Summer In Nagasaki
and Autumn In Hiroshima both flows as one continous piece each. On the vinyl releases, one has to switch sides three times in the process. Unexpectedly it doesn't ruin the listening pleasure. Actually, I think that a little involvement from the listener intensifies the positive experience.

I suspect the 1000 units of each release are going to be sold relatively quick, and really hope we will see more of those in the future. Especially the remaining three parts from The Five Atomic Seasons.

Winter In Hiroshima, 2009. 9/10

reviews - 00'sOprettet af Jacob Pertou søn, september 06, 2009 19:48

Bought at Tangerine Dream’s Northeim concert, one week before writing this, and listened to, the following morning, I’ve gotten a positive acquaintance with this album relatively fast.
Shortly after, it was used as a kind of soundtrack on my further journeys in Berlin, on a four hour river voyage and during my train ride back home.
Therefore, the album has achieved a sentimental status for me, and will musically ignite inner images, directly opposite of the conceptual intention. Why? Because I will never read the story behind the album. That’s not only because it is hampered by the microscopic text in the cover, but because the ulterior motive of previous albums have dealt with a semi-elitist storyline. By that I mean Chandra – The Phantom Ferry Part 1, but mostly obvious, Autumn Hiroshima.
So, I’m thriving with the correlation of an electronic winter landscape and a blazingly hot trip on the Spree, as the music is so versatile, that you don’t have to read the booklet.
Autumn In Hiroshima is an introvert and almost merciless album, despite its, on the surface, calm appearance. I never got the chance to review that album, and possibly will not, as the music never offered itself the opportunity – contrary its two predecessors, that did take a years time, before I felt I could commit myself to write about those albums.
Winter In Hiroshima has its moments of clarity, and therefore also its pitfalls, that can be connected with words like “stagnation”, “tedium” and at worst “triviality”.
But that assumption seems terribly unreasonable, as Edgar uses that to create dynamics into a unified whole, with few tracks on the album having the ability to stand alone.
This means you get the feeling that this album consists of three sections, Transition, Ayumi’s Loom, and a last section with the remaining seven cuts:
We know Transition from the TDOC (Tangerine Dream Online Club) and the interview Edgar Froese gave to Olaf Zimmerman on Radio Eins Elektro Beats, the 15th July, where the track had its world premiere. It is a quirky, varied song with artificial nonsense vocals, and a catchy melody.
Ayumi’s Loom blew me away in Northeim and Berlin, where Bernhard introduced old-fashioned twang guitar to fulfil the sonic image, which completely lacks on this pure Edgar Froese album.
But beautiful it is, and is the pinnacle, production-wise, on this album. The melody of the tune is like the shady side of Le Parc (L.A. Streethawk), catchy and sinister at the same time. Sounds of heavy metal doors being slammed, is a detail, which completes the track.
The last seven tracks is a long and winding road, and offer a distinct Asian sounding music, with a meditative solitary/spiritual form that seeks inwards.
Climax is reached in the final piece, Glowing Vision, which tickles one into putting on the fifth episode of the atomic seasons on the stereo, right away.
We have to wait some time for this, though. We’ll handle that okay, because despite the unconditional qualities of the album, it is Jerome Froese and Thorsten Quaeschning, who individually have to draw lots for, whether it is Vintage Vanguard or Natatorium that is album of the year.

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