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 check-out.
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.)