TANGERINE DREAM HAVE COME
Tangerine Dream have come a long way from their beginnings as a rock band in 1965. In fact the only element that the present group shares with this early prototype is leader Edgar Froese. By the late sixties Edgar was feeling more than a little despondent with the limitations that conventional rock and its instrumentation placed upon the band. This factor, together with the atmosphere of revolutionary political and musical thinking that was prevalent in Berlin at the time, launched Tangerine Dream on their experimental path.
Artistically, success was limited, until the present band came together some three years ago when Edgar was joined by Christoph Franke and Peter Baumann. Since then the group have been playing and perfecting their own kind of music. At present Tangerine Dream stand alone: comparisons with others have long since become redundant. Their uniqueness would undoubtedly have been recognised on a wider scale at an earlier date, had it not been for business problems. Fortunately this situation has now been rectified. PHAEDRA, their first British release emerged in February 1974. Gordon Fletcher has since written in Rolling Stone: 'It's an amazing record, the most effective mating of the mellotron and synthesizer to date, and its lush employment of rich sonic textures makes it an immensely enjoyable experience'. The album has been an astounding success - it featured in Melody Maker's Top 20 for three months reaching the number nine position and selling more than 100,000 copies in England alone. This was all achieved before the group had played a single concert in Britain.
Tangerine Dream's first appearance here was at London's Victoria Palace Theatre in June. The concert was an unqualified success, and was reviewedmost favourably. Since this, the group have played two further gigs in Britain, receiving similar acclaim. On October 26th, Tangerine Dream embarked on their first ever tour of Britain.
Tangerine Dream do not play conventional instruments. Their mass of synthesizers and electronic keyboards are probably the most sophisticated in the world. Primarily however, the group are musicians (thus Karl Dallas commented in Melody Maker, 'As keyboard men they arereally supreme') and the machines are simply a means to realising their musical ideas, which centre around total improvisation. On this tour the band will be playing in true QUADROPHONIC, which will further increase the wealth of possibilities available to them. Very special lighting effects will also be introduced. In recent months, the group have been perfecting their stage presentation essentially through the incorporation of new equipment. Another project was the recording (at the invitation of actor Keith Michell) of the music for the Chichester Festival Theatre production of 'Oedipus Tyrannus'. However the band feel that the way in which the music was used in the play hardly did justice to their efforts. But it is likely that the music will eventually appear as part of a record.
Meanwhile Tangerine Dream will be working on their follow-up to 'Phaedra' after the tour.
It should be released to coincide with something of a world tour, encompassing Australia, Japan, and the United States.
Further plans include the occasional furtherance of individual activities: Peter Baumann and
Christoph Franke are working on solo albums - Edgar Froese's solo album 'AQUA' has already
been released. Tangerine Dream also intend to work more extensively with films: though probably the film most suited to their music is yet to be made.
TANGERINE DREAM'S BEGINNINGS IN THE BERLIN OF THE LATE 60s...
Tangerine Dream's beginnings in the Berlin of the late sixties were exclusively those of the heavy, entirely derivative rock band which only Germany knows how to produce so well. Now,they set the standards for the incorporation of electronics into rock, and rock into electronics.
In fact, rock might be a completely inappropriate term: Tangerine Dream seem to have found musical areas which rock may only be starting to encounter one hundred years from now.
How has this transformation come about ? The break came in 1972, when, with a new line up Tangerine Dream released the double album 'ZEIT'. The culmination of this entirely new direction was 'PHAEDRA', their first British album, and its success has suprised only the many who were caught up in the conventions established in England and America over the last few decades.
In live performances Tangerine Dream introduce a further dimension into their radically original musical vision. Their commitment to total improvisation moulds their concerts into an unusual form: at the beginning there has to be a periodof attunement - musicians to each other, andthen musicians to the audience. Finally the band tries to sensitize itself to the particulm acoustics of the auditorium.
Once this process is complete, the true concert begins. Tangerine Dream are concerned with sound at its most basic and pure level. At this stage in the proceedings, we are indeed priveleged to welcome to this brochure that distinguished Private Eye columnist and respected critic, Hans Killer.
Take it away prof....
Zis is vielleicht ze most interestink manifestation of ze avant - gardisches musik trend, in zis field vith which I myself about concerning am. How vell I remember mit my boyhood days reminiscink vith Edgar Froese himself in ze Old Tyrolean Mountain Dog Beerhof in ze bohemian quarter of Gelsenkirchen.
Hans, he told me, puffing earnestly on his old Briar Weltauschanung, I certainly am going to set ze proverbial cat among ze parrots.
The Rainbow Concert is the world premiere of the Spectre Video Synthesiser, a unique new instrument used to produce the visual accompaniment to Tangerine Dream.
Designed by Richard Munkhouse, Spectre is produced and marketed by EMS (London) Ltd. EMS has long been known for its Synthi range of music synthesizers which Tangerine Dream also use.
Spectre is capable of producing a virtually unlimited variety of patterns and images under the direct control of the operator. Spectre will also accept an audio input so that the music you hear in this concert will also directly control the images you see.
For the first time there will be complete synchronisation between the music, and the images on the screen. In the past, synchronisation has existed on very crude levels, particularly that of rhythm. The Spectre takes in every aspect of the music.
Ordinarily, a normal TV monitor is used with Spectre. At the Rainbow we are using an Eidophore Video Projector to show a large image that the whole audience can appreciate.
26 October - Rainbow Theatre London
29 October - Sheffield City Hall
30 October - Birmineham Town Hall
2 November - Liverpool Stadium
4 November - Manchester Free Trade Hall
6 November - North East London Polytechnic
8 November - The Dome, Brighton
9 November - Guildhall, Plymouth
10 November - Festival Hall, Paignton
16 November - Cambridge Corn Exchange
17 November - Guildford Civic Hall
19 November - Caley Cinema, Edinburgh
20 November - Kelvin Hall, Glasgow
22 November - Southampton University
23 November - Kuursal, Southend
26 November - St. Georges Hall, Bradford
29 November - Cardiff University
30 November - Colston Hall, Bristol
1 December - De Montfort Hall, Leicester
4 December - Newcastle City Hall