Yesteryear, Perge laid down many a Tangerine Dream afficionado in horizontal, immaculate excitement, when they chose a vaguely documented chapter in the history of Tangerine Dream, to microscopic scrutiny, and released the album Dyad.
Perge triumphed, as they created new music from the melodic voids of tonal displacements, transpositions and what have we not, Tangerine Dream themselves, never got around to investigate.
Dyad had a peculiar quality in its tight focus. The proper follow-up, Attalus, is much more far-reaching, but not less interesting.
In the two-piece ”Attalus I” we get TD references en masse, build around Pergamon, and ultimately Encore. It is raw sequencer with creative figment of imagination, and fabulating, epic roads to destinations unknown.
It gets really interesting in ”Attalus II”, which in four parts sucks out the final powers of Chris Franke's last days in Tangerine Dream, and put them in a thorough perspective. Good thing that it never becomes a far-fetched, nostalgic retrospective on old times.
After a quick soundbite, resembling a fraction of ”Network 23”, we get a capsule summary of the revival in the soundtrack business, in recent years, where everyone besides Tangerine Dream was asked to do the music. (Best result was was the soundtrack to dreadful Refn film Drive.)
In admirable fashion Perge combines this cinematographic angle with Poland's icecold, militant prototechno.
Track five extinguishes itself from its use of discreet electric piano, after a Vangelisish template.
Conclusively, this logic successor to Dyad develops into an independent microcoms, to use a very Edgaresque term. Ultimately, Attalus finds its own world, as the creative powers behind the work has created an unruly monster, far beyond the control of mr. Froese.