Have you been sleeping the last year in a coffin, and has Tangerine Dream been marking time in the subconsciousness, you have missed a great many things. Maybe you succeeded in ignoring Tangerine Dream performing in Eindhoven, where compositions from Edgar Froese's back catalogue were performed. An exclusive split-single was released on the occasion, where a track credited to Edgar Froese carrying the title "Armageddon In The Rose Garden, Part I” was supplied by an emancipated, alive and kicking Ron Boots, whose quality control ignored blemishes, in honour of spontaneity and joyful playing in the style of the old, Berlin school.
In the underacted Part II, that opens “Purple Diluvial” with the exact same intro, before the black-coloured sequencer that plays its testimony upon the theme from Part I, one could marvel at lack of lust or faith in completing the suite.
It’s my impression that the primary target group still prefers the compact disc format, and in the right sequence, with no further effort.
I’m surprised with Edgar Froese’s genuflection for Ron Boots, and his new recruit, Thorsten Quaeschning. I do not know if it is due to respect for their music making, or the lack of dedication to own works. In my eyes, Armageddon In The Rose Garden Part I+II is an inseparable combination, that ultimately becomes overshadowed by the following contributions.
Where Edgar Froese has given “Purple Diluvial” the seal of approval by playing a sinister, almost humble overture, Thorsten Quaeschning gets the most respect from me. He is held in high esteem; because he extends the TD heritage, even with accept from the boss himself. Here is nothing fragmented, but actually very complete.
Purple Diluvial and Babylon The Great Has Fallen are epic cuts with a logarithmic appeal. The fascination increases gradually with each listen. The title track distinguishes itself with a pleasant and snug construction. The course is floating, with a transition from the melodic and uplifting for some seven minutes, over the rhythmic stuff, to finally boil over with massive, extorting melodies and screaming guitars. The lid is lifted, the aggressions evaporate, and we can Mellotronically say farewell, while the track slowly cools down in the afterheat.
Babylon The Great Has Fallen recycles contributions to Jeanne d’Arc from 2005, and in the wake of that, an electronic bow for Kraftwerk, with strong bass weight, is made.
The construction is just as audio/visual – and intense – like the previous example, but far more streamlined and stripped for unnecessary impressions.
”Purple Diluvial” is the winner here. Both cd’s physical appearance is very slender, minimized to cardboard covers, like when black vinyl was the primary transmission medium for music.
I’d say the Froese/Boots thing is like 12” split-single, while "Purple Diluvial" is a classic LP, like in the old days. Very well done, Thorsten!