TANGERINE DREAM

Review Nº 595

The joy of experimentation in the end of the 60's led that the prog rock via "psychedelic" increased the interest in the electronic sound production and manipulation. That changed with the invention of the modular Moog synthesizer. Rock musicians began to include the sound worlds of the synthesizers, in addition to the classic prog rock bands that "only" used the synthesizer as an additional instrument. There were others who wanted to create a new kind of music with the help of these devices. This was especially made by German musicians that took new paths. Tangerine Dream and Klaus Schulze became famous in the early 70's with long, melancholy instrumental pieces under the term "cosmic music". Others, like Kraftwerk, made it later work more song oriented and are now considered the forefathers of the techno.

Tangerine Dream is next to Kraftwerk as the most famous electronic formation in Germany. They were founded in 1967 by Edgar Froese. With their second album "Alpha Centauri" (1971), still recorded with predominantly conventional instruments, and with "Zeit" (1972), Tangerine Dream created a kind of cosmic music with overlong, rhythmic and structure-free pieces without recognizable melodies, demanding the utmost attention from the listener. This initial musical phase, also called "The Pink Years", lasted until the beginning of 1977 and is generally considered the phase in which the group's most mature albums were created, like "Zeit", "Phaedra", "Rubycon", "Ricochet" and "Stratosfear".

From the year of 1979, the quality of the earlier works didn't reach the band again. However, some very interesting and good albums were released, like "Force Majeure", "Tangram" and "Hyperborea". The 80's were the years where Tangerine Dream also had a successful career composing film soundtracks, creating over 60 scores, which had been started in 1977 with the soundtrack "Sorcerer". This was the case of "Firestarter" too, which is the object of this review.

"Firestarter" is the seventeenth studio album of Tangerine Dream and was released in 1984. "Firestarter" is the soundtrack made by Tangerine Dream to an American science-fiction horror film released in the same year and based on a Stephen King's novel of the same name which was written in 1980. The plot of the film concerns about a young girl who develops pyrokinesis and the secret government agency known as the Shop which seeks to control her instincts. The film was directed by Mark L. Lester, and stars David Keith, Drew Barrymore, Martin Sheen and George C. Scott.

"Firestarter" is an action-packed thriller with dark and sinister references. That description applies to the film and to Tangerine Dream's soundtrack. As a body of work, their film music is somehow inconsistent and uneven. There are some outstanding scores and some real clunkers. Still, this is a good album as a whole. The music has strong character and integrity and the classic Tangerine Dream's sound with its dark atmospheres. However, the music they came up with for this film isn't really a horror score at all, but one that is very almost dreamy, if you will. The music on the soundtrack is in general good and is from one of the band's most prolific lines up, Froese, Franke and Schmoelling.

About the individual tracks, all have a distinctive sound, but they all merge together to combine into the final work. "Crystal Voice" is one of my favorites on the album. It sort of is the main theme for the release which gives it that certain "feel" to it that makes it an enjoyable piece. "The Run" and "Testlab" are, perhaps, my least two favourite tracks here. But, they're two nice tracks too. "The Run" is more a faster paced piece which uses oscillating drums to offset the rhythm. "Testlab" is a track with some oriental flavour. "Charly The Kid" is another standout composition that shares the same common theme of "Crystal Voice". This is another highlight on the album. "Escaping Point" is another one of my favourite tracks here. "Rainbirds Move" is one of those tracks I didn't care for at first, but the more I listened to it, I became accustomed to the piece. "Burning Force" is another of my favorite tracks on the album which is very dark and deep. This track takes a hold of you and it keeps a grip on you. "Between Realities" is a great filler piece, but it's more a soundtrack driven track than something that would be put on a regular album. "Shop Territory" has a constant rhythm and is a track that must be listening by its own. "Flash Final" is another of my favourite tracks on the album. It's very intense and hypnotic. "Out Of The Heat" closes the album nicely. This piece has heavy chord samples and it's dark too.

Conclusion: "Firestarter" is an album in the usual tradition of the soundtrack films of Tangerine Dream in the 80's. It reminds to me two other albums of that era, which I know very well, "Wavelength", another soundtrack album and "Le Park". Both albums were already reviewed by me here on Progarchives. "Firestarter" is an album very uniforme, well balanced and without weak points. It doesn't belong to their most creative and spacey era but it remains, for me, a very good album, maybe more commercial, but it still remains a true nice album to hear. The electronic music that Tangerine Dream brought with "Firestarter" is actually more accessible to the general listening public than the usual electronic sound. It's melodic, it's more light than dark and it's rhythmic enough at times to hum. This is a nice listening, indeed.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 594

Tangerine Dream is a German progressive band that was founded in 1967 by Edgar Froese. They helped to develop the German musical scene known as "kosmische music" (cosmic music). The work of these electronic pioneers can be subdivided in several phases. The initial phase, 1970-73, also called "The Pink Years", started with the avant- garde and misleading title "Electronic Meditation" released in 1970. It was an album partly influenced by Floyd's "cosmic music". Only on their second album "Alpha Centauri", which was released in 1971, are used synthesizers. Until then you came out without any electronic instruments. After that they released two more albums "Zeit" in 1972 and "Atem" in 1973.

It was only after the recordings for "Green Desert", originally recorded in 1973 but only released in 1986 in a revised form that probably the best Tangerine Dream's line up, Froese, Franke and Baumann, signed a record deal with Virgin Records. And then the second phase began, 1974-83, which is known as "The Virgin Years". This is the phase that began with the groundbreaking Tangerine Dream's works, "Phaedra" in 1974, "Rubycon" and "Ricochet" in 1975, works of the so-called "Berlin School". "Berlin School" is a sub-genre of electronic music and the pioneers are Klaus Schulze and Tangerine Dream, who were based in Berlin in the 70's. After these albums, Tangerine Dream released two more albums, "Stratosfear" in 1976 and the soundtrack "Sorcerer" in 1977, before the departure of Baumann from the band.

"Sorcerer" is one of the many soundtracks that Tangerine Dream composed and recorded all over the years. All began when the film director William Friedkin, who always will be remembered best for the classics "The French Connection" from 1970 and "The Exorcist" from 1973, asked Tangerine Dream if they were interested in making the soundtrack for his new film. The band reportedly composed and recorded nearly one hour and a half of material, and handed it over to Friedkin who at this point didn't have the slightest idea about what film he was going to make. As a result, the final film was actually inspired by the soundtrack instead of the far more usual other way around. The film was titled "Sorcerer", which is a remake of the 1953's French film "Le Salair De La Peur" (The Wages Of Fear) directed by Georges Arnaud.

"Sorcerer" tells us the story of four criminals hiding out in Nicaragua who are given the chance to make a lot of money, by driving 200 miles with unstable dynamite, which could explode if exposed to extreme vibrations or shock, needed to help put out a blaze in an oil field. They inevitably meet lots of dangers along the way, including bandits, a fallen tree blocking the road and a ddodgy rope bridge, which is the image chosen to be put on the front cover of the album.

Sadly for Friedkin, the film became a flop in addition to being a critical fiasco. But, the soundtrack itself ranks among Tangerine Dream's classic albums. The original material that had been sent to Friedkin was edited down to a single album. The best way to approach it is to forget the film and instead, view it as a regular Tangerine Dream's release.

The most significant difference from this and the other best and classic works from the band was the number of tracks and their length. There were no less than twelve tracks here, several of them with two or three minutes range. But, it doesn't matter at all when considering the overwhelming quality of the material. "Creation" and especially "Vengeance" could both have been taken from "Stratosfear", while the rhythm of "Rain Forest" is very reminiscent of "Phaedra". And the lengthiest track of the album, the seven minute "Abyss", has certain similarities to "AF 765" from Froese's "Macula Transfer" album. "Search", "Grind" and "Betrayal (Sorcerer Theme)" are all short but classic themes in Tangerine Dream's catalogue, perfectly demonstrating the band's classic sound even within the short running time. "The Call" is two minutes of pure atmospheric beauty at its most pleasant, and "Impressions Of Sorcerer" have a surprisingly funky rhythm that fits well along with a superb Mellotron work. "The Journey" has the Mellotron-flute that was so typical for Tangerine Dream. "The Mountain Road" reminds me new age with its electronic ethnic percussion sounds.The weirdest and most experimental piece on the album is "Main Title", consisting of five minutes of sinister and dark synth sounds.

Conclusion: While we listening to "Sorcerer", it's hard to deny that the music really sounds as if it was made for a film. It can fits the images of the film very well. The music is mostly performed with Mellotrons, electric guitars and many synthesizers. But, it sounds rather strong compared to other soundtracks of Tangerine Dream made some years later. Therefore, many people who fancy Tangerine Dream's music consider "Sorcerer" to be the best soundtrack the band ever recorded. The music on this album is quite similar to the music on their preceding albums "Phaedra", "Rubycon", "Ricochet" and "Stratosfear". This is maybe due to the fact that Tangerine Dream stuck to the electronic sounds that they also recorded on their previous releases. Those albums are loved by most of their fans, in which I include myself. Therefore, the music was very recognizable and enjoyable for most band fans. "Sorcerer" is a classic Tangerine Dream.

Prog is my Ferrari. Jem Godfrey (Frost*

Review Nº 591

Tangerine Dream is a German progressive band led by Edgar Froese, the only remnant member of the group's original formation, until his dead, and together with Kraftwerk, they were the great exponent of what is called the Progressive Electronic Music. With a career spanning over fifty years and dozens of albums released, Tangerine Dream is one of the most influential bands in and out of the progressive rock, with many artists and bands clearly inspired by their sound.

The band's career is divided into several phases. The first one, also called "The Pink Years", started in 1970 and ended in 1973. It marks a sonority clearly inspired by Pink Floyd, phase Syd Barrett, with several keyboard and sound effects interventions and close to the German progressive scene called Krautrock. Highlight for "Alpha Centauri" of 1971, "Zeit" of 1972, (a double disc with a bold proposal of an "electronic space symphony") and "Atem" of 1973, which even included tribal elements in some of its tracks. The second phase, also called "The Virgin Years", between 1974 and 1983, is considered by many to be Tangerine Dream's golden phase. It marks a turn in the sound of the band, which even though betting on long suites, marks a greater sonic independence, in which the band acquired their own identity and a greater and better use of keyboards, synthesizers and sound effects in some tracks, a slightly more accessible proposal, even if still quite experimental. Highlight for the albums "Phaedra" of 1974, "Rubycon" and "Ricochet", both of 1975, "Stratosfear" of 1976, "Encore" of 1977 and "Force Majeure" of 1979. "Encore" is the subject of this my review.

During the 70's, Tangerine Dream's live concerts were quite unique. Because of the delicacy of the analog equipments, the German trio improvised every evening a new show. Certainly, many lines got closer, but Tangerine Dream espoused on the spot the main lines of long concerts where the sequential fury supported the ferocity of synths, keyboards and Mellotron, as well as the rather rock approach Froese's guitar. And, "Encore" is surely one of the best examples of that.

"Encore" is the second live album of Tangerine Dream. This time, is a double live album that was recorded during the band's North American tour, of March-April 1977. But, unlike "Ricochet", which though is technically a live album had basically no audience presence, on "Encore" the audience makes their presence known at certain points, lending the recording proper live ambience. I think this album probably will hold its greatest appeal for those who picked it out of its chronological context with the other 70's albums. If you did track the band's output chronologically, chances are that by the time you reach "Encore", you may find it the grand summary of this great line up and of this style of music.

"Encore" is supposed to be the definitive Tangerine Dream's album among many fans. It was the last album featuring Peter Baumann. During the tour, he informed Froese and Franke that his private obligations no longer allowed him a full-time collaboration with the band and he left in 1977 for good and started working as a solo artist and a producer.

"Cherokee Lane" is probably the most conservative of the four tracks in terms of duplicating previous work. The Mellotrons are all over the place, creating that hauntingly beautiful and mystical mood that none other than Tangerine Dream at their best could do. "Monolight" provides a greater departure. It begins with a classical grand piano gradually given auxiliary support by some other keys. After that, the track is classically styled and represents the most thoroughly composed moment on the album, weaving through major and minor keys with the main melody played on Moog. "Coldwater Canyon" is Froese's track title. It's an intense, upbeat and a rocking track that features Froese in top form on guitar. He releases his guitar work in a pure improvisation, such as a rock star. It's a cutting edge track which distances itself from the band's repertory, although keyboards pads, sequences and hatched percussions didn't lie about their origins. The last track "Desert Dream" encloses the album in a purely atmospheric style, shifting from dark, experimental passages to beautiful and ethereal parts with tons of Mellotrons and an Eastern feel that fits the title of the track. It ends recalling the steams of "Invisible Limits" of "Stratosfear". This is a nice swan song for a legendary line up.

Conclusion: Tangerine Dream's USA live tour of 1977 resulted in this excellent "Encore". The title would unfortunately proved to be very fitting, as it was the last album to feature Baumann and the last where the classic band's sound still was fully intact. "Encore" reflects the unique magic of Tangerine Dream's concerts in that era. Every evening was a different happening which delighted the fans. It was pure improvisations on sound effects and surprising laser plays that gave unique moments, engraved in our contemplative memoirs. The set is uniquely Tangerine Dream, however, with similarities to other prog rock bands of that era. "Encore" was an enormously worthy way to end their classic years, consisting of four side long tracks that blend new ideas and material with older themes. "Encore" was Tangerine Dream's last masterpiece and is one of the strongest proofs of the genius that the band possessed from 1972 to 1977.

Prog is my Ferrari. Jem Godfrey (Frost*)

[This review is based on the DMV Ultimate Edition]

Dream Mixes V is so far the last album in what has proved to be a hugely listenable project of remixing TD's back catalogue. The first two releases were more oriented to the band's 90s output, whereas DMIII onwards saw the project revisit much older and more "classic" TD pieces. DMV is much less "danceable" and beat-oriented than previous DM releases (DMI being the most danceable of them all).

The album opens with "The Return of the Time" - a piece which is very loosely based on "Rubycon Part 1" from the 1975 album. This is not so much an actual remix as opposed to a track that uses samples. The track itself is somewhat ambient and flowing, and you can almost imagine a river running its course. A great chill-out track for those who prefer their chill-out musical on the cerebral side. 8.5/10.

Up next is Flow Paths, which is a remix from "Exit", originally released on the album of the same name in 1981. This track is indeed a full-on remix (and so are most of the tracks on the rest of the album), as the melody is present throughout. Flow Paths is a fine track, that alters the melody a little in the right way but retains the essence of the original - which is a great track. 8.0/10

This is then followed by Scope of Mind, which is one of two remixes from Poland's closing track "Horizon" (released 1984). It is based on the second section. This is perhaps one of the greatest tracks, as it does indeed have an epic feel (or "scope") to it. This is a somewhat recurring theme for this album - tracks that have a sort of epic and grandiose feel to them. This track works exceedingly well, with its semi-laid-back sequences and overall sense of purpose to it. 10.0/10.

Meshwork, on the other hand, ups the ante with a frenetic and upbeat sequence-driven melody. It is based on the lesser-known track Flock from TD's soundtrack to the episode of the German television show Tatort "Das Mädchen auf der Treppe". I really like the sequence on this track, it scratches my brain in all the right ways. It doesn't really alter the original much, just extends it and adds some new sounds. 9.0/10

Code to Zero is based on the divisive "Midnight in Tula" from 1982's White Eagle. It alters the original to a reasonable extent, remaining true to the original but also significantly different enough to provide a different listening experience. The sequence no longer sounds quite so retro-videogame-esque (not that this was something that bothered me - I am one of the people who likes the original), and instead sounds more befitting of a more modern video game title. 8.5/10

Polar Circles is another track based on a less well-known piece, this time being based on "Running Out of Time" from the 1989 soundtrack to the movie "Miracle Mile". It is another more laid-back and relaxed track, but still has a solid momentum going and is also befitting of a chillout session. 8.5/10

This is then followed by what is in my opinion another of the greatest tracks on the album, Alien Sitcom. Again, it is based on a more obscure soundtrack number, "Mojave End Title" from 1983's Wavelength. This is another track that has a grandiose feel to it, and it is incredibly effective. It has many great chord patterns and sequences that build as the piece goes on from a more minimal start to where, later on in the piece, the full-scale sounds are unleashed and all the grandeur is revealed. 10.0/10.

The last track to not be a bonus track is Hinterland, the second track based on "Horizon" from Poland. This is another track with a frenetic and fast pace, and is based on the final section. Also another fine track, and a faithful rendition of Horizon's closing section. 8.0/10

The first of the bonus tracks is D.I.T.S., which is based on "Dolls in the Shadow" from the 1990 album "Melrose". This alters the original by adding in a substantial amount of guitar sounds akin to Jerome Froese's guitartronica albums, which works really nicely. As a side note, this track's remix date differs from the rest of the album, stemming from 2008 and not 2010. 9.0/10.

The second bonus track is Sun's Son Seal, Part Three, which is based on "Sun's Son Seal, Part One", and "Sun's Son Seal, Part Two", from Purgatorio (2004), part of the operatic Dante trilogy. This track, however, is not operatic at all. It features some almost ominous and cinematic-sounding synth chord progressions and has a far more of a trance- beat feel to it than the rest of the album. 9.0/10.

The third bonus track is Wasteland Methods, based on "Mojave Plan", another track from 1982's "White Eagle". This is another of the best tracks on the album, utilising different sections of the original piece for a track which is almost half the length but works just as well, if not slightly better. Again, Wasteland Methods feels more beat- oriented than the rest of the album (perhaps this is why Wasteland Methods and the previous track are bonus tracks, as they contrasted too much with the overall sound of the rest of the album). 10.0/10.

The album closes with the final bonus track, Cognition. This is not a remix of any previous Tangerine Dream piece, but is rather an original piece. In contrast with ANY other track on the album, Cognition has no beat whatsoever, and is more of an ambient soundscape track, with one sound/chord flowing nicely into the next. This is the most chilled-out track on the album, and works well as an ending. 8.5/10.

In conclusion, DMV is an excellent and competent closing chapter of one of the most interesting and rewarding series of albums in TD's history. 5/5.

Tangerine Dream's Tangram is without a doubt one of the band's finest works. I maybe have a soft spot for this album, since it's the third TD album I ever listened to (behind Zeit and Cyclone).

Tangram consists of two side-long pieces, or "sets", as they are called (relating to the album's theme). Both sets contain multiple movements, each having a unique and distinct melody that flows seamlessly into the next. The music presented here is very upbeat and melodic, almost bordering symphonic. It follows on nicely from the more organic- sounding Force Majeure, which is also a masterpiece.

The first set is the best on the album. It opens with a simple yet incredibly effective sequence, and it's not long before we're thrust into the action with more complex layered melodies and harmonies, all contributing to an addictive sound that is hard to stop coming back to. This piece is a strong 10/10.

The second set doesn't reach the same highs as the first, but operates on a similar musical principle, layering melodies, harmonies, and sequences together to create a mesmerising sound world. The second set isn't as good as the first but is still a great piece nonetheless. 8.5/10

Overall, this is a great album that comes highly recommended to anyone. 5/5.

An incredibly solid live album from TD!

Tangerine Dream's "Zeitgeist Concert" is an amazing live album that provides a great retrospective of the band's entire career. It maybe has the greatest overview provided by any TD live album, as every era (even the Pink Years) is represented here.

Regarding the tracks, almost all of the selections here are great tracks. The classic era TD stuff has been remixed, but I think it works pretty well in the context of the live album. Almost all of the tracks flow as one, and I personally find it impossible to point out highlights.

There are a handful of tracks I don't like, however. The first is "Piano Improvisation + The Whip", as the gimmick of interrupting a piano solo by beating the strings with a whip sounds kinda cool but is annoying to listen to (and any "symbolic" meaning is lost on me as well. The other two are "Death of a Nightingale" and "Boat to China", as I'm not a fan of the sax-heavy pieces, which are generally melodically weak. I like "Long Island Sunset", however, as it has a strong melody and is not too reliant on the sax.

Overall, this is a great live album and recommended for any fans of TD's whole career.

I'm a pretty big fan of "Sorcerer" TANGERINE DREAM's first soundtrack recording and their best at that. If your a fan of the mellotron like I am then TD has to be on your hit list because they have many mellotron soaked records including this one from 1977. Nine of the twelve songs feature mellotron. All three guys play it on here as well as synths with Edgar bringing out his guitar and adding piano. This record along with "Electronic Meditation" and "Stratosfear" are their only 70's albums not to feature a side long track. Please read Stefro's review for some excellent information about the movie this soundtrack was made for.

William Friedkin had previously made "The French Connection" and "The Excorcist" while "Sorcerer" was a remake of the classic 50's movie called "The Wages Of Fear" which in turn was based on a novel. This movie flopped and I can't help to think that this in part was because he named it "Sorcerer" trying to capitalize on "The Excorcist" success. People aren't that dumb apparently and while many feel it was a good movie it sure wasn't a great one like the two I mentioned that he did prior. This has nothing to do with sorcery but it is a fairly dark album that clocks in at around 45 minutes. I love this record, I mean there's mellotron and electronics all over it, plenty of atmosphere and some really cool ideas. They sure didn't just mail this one in as I find it very creative.

While this is dark and melancholic I wouldn't call it haunting or scary in the least, I mean "Creation" is a song that opens with a haunting mood but there's not much more of that. "Main Theme" the opener is a top five track as sounds build with spacey winds and experimental expressions. This is dark and certainly headphone music. It ends with some pretty intense sounds. "Vengeance" isn't a top five for me but I want to mention the three guys all playing separate synth melodies different from each other.

Next top five is "Rain Forest" with those fast paced sounds and atmosphere. A real cool sound to this one like we're on a train. "Abyss" is the longest at 7 minutes and man it's so well done with that dark soundscape, I mean this just sounds a little different. It starts to move after 3 minutes with sequencers as spacey sounds and mellotron create atmosphere. The intensity rises before 6 minutes as it gets a little crazy. "Impressions Of A Sorcerer" has Froese adding his guitar which I really like and this is somewhat catchy. The closer "Betrayal(Sorcerer Theme)" is my final top five track ending this record in style with the electronics, beats and mellotron standing out.

This holds up very well on it's own without any visual needed. I just love the sound of this one.

This was live album number three by TD following "Ricochet" and "Encore" but this one really goes beyond the music for me. Edgar Froese apparently knew someone in East Germany that had some authority and connections that opened the door for a Western band to play in Communist East Germany at the peak of the cold war in 1980. Maybe they felt that Electronic music with no lyrics was pretty safe for their youth to hear although I have no doubt some rules were laid down for the band in order to play there. It was held on January 31st at Palast Der Republik which was where the government held their parliament sessions. There were 3,000 people in attendance and it was recorded and replayed on East German radio shortly thereafter. Johannes Schmoelling has just joined the band the month before and this was his first live event with them, what a way to begin!

We get two side long tracks worth around 23 minutes each and both sections really resonate with me. Part 1 mostly for the piano that opens the track which is melancholic and relaxed for the most part until it kicks into gear with synths before 2 1/2 minutes. I have to say though that I looked forward every time I spun this for that opening piano that lasts around 5 minutes. Electronics galore to follow including sequencers around 8 minutes in. Experimental to end it.

Part 2 opens with those experimental sounds before turning haunting. Sequencers hit around 4 minutes but it's spacey too. Some much needed warmth before 6 minutes then the highlight as Froese stands out front and does his guitar hero imitation for 8 minutes! Soaring leads and I can just imagine every East German in attendance looking to buy a guitar after this. Did the government anticipate this? Regardless Edgar puts on a show for the youth that I'm sure many have not forgotten who were in attendance. The last 7 minutes is pretty much electronics with applause to end it.

I'm so happy to own this one along with their first two live records. I may review their first soundtrack tomorrow which I have been spinning all this week up to today. Easily 4 stars for this special event.

Tangerine Dream's first four albums, preceding their jump to Virgin and the game-changer that was Phaedra, covers a range of music from psychedelic-tinged Krautrock improvised freakouts (Electronic Meditation) to material forming the foundation of the so-called Berlin School of electronic music (Alpha Centauri, Zeit, Atem), This excellent boxed set presents the finest-sounding CD remasters of those albums we've ever had, in cardboard LP-replica sleeves - nice ones at that, which don't feel flimsy or like an afterthought at all. It's a great way to instantly get this critical part of the Tangerine Dream story into your collection, and another example of Esoteric's excellent attention to detail in their reissues.

The last founding and continuous TD member, Edgar Froese died in 2015. (Other founding members still live but disassociated from the band long ago.) Some of his collaborators from 21st Century projects here continue to carry the torch of Edgar's ideas.

1. "Continuum" (7:09) nice, catchy melodies lets me know these musicians are serious and eager about preserving the Tangerine Dream story as well as taking it forward. My second favorite song on the album. (13.25/15)

2. "Portico" (6:42) pleasant soundscapes and interesting music constructed in an engaging fashion. (8.75/10)

3. "In 256 Zeichen" (19:07) floating nighttime land and skyscapes develop slowly over the first of the four sections (five minutes) of this long piece. The second section sounds like jungle forest scapes--with an almost gamelan or third world percussive sound component. The next section founds itself completely on those "third world" percussion sounds before 80s banks of Mark Isham-like synth-strings chords dart into the open fields. The final piece sees some space music devolve into entropic chaos. Cool composition. My third favorite song on the album. (36/40)

4. "You're Always on Time" (8:07) nice rolling synth-bass line. I like the song's spaciousness--sounds like subatomic particles moving through space. Violin is also a nice feature. It's not until the third minute that everything starts to come together. Nice finale. (13/15)

5. "Along the Canal" (5:29) a little too early-Vangelis sounding. (8.25/10)

6. "What You Should Know About Endings" (6:55) gets good in the third minute with the deep vein thrombosis, and then with the seriously moving rhythm sequence, but the song never really catches onto a melody to really bring me in. (13.25/15)

7. "Raum" (14:54) opens with some familiar DEAD CAN DANCE synth cords before sequenced rhythm track creeps into the background. Then highly distorted/degenerating synth notes try to add a melody line before disappearing. By the end of the third minute you get the feeling that something big and orchestral is brewing as many sounds and layers are slowly being introduced. A minute later it seems surprising that we are stripped down to a familiar Berlin School sequence with few embellishments, but then many incidentals are subtly snuck into the weave--some staying, many appearing and then disappearing. It's like a drive through the countryside with the numerous incidentals in the scenery passing us by. Definitely an "older" version of TD being played at here. The second half gets more aggressive though still using older sounds (instruments?) to create the tapestry--before we return to a classic spacescape in the tenth minute. This is gorgeous! Violin moves to the for and becomes quite prominent in the thirteenth minute. I really like this! Great song! Definitely my favorite on the album. (29/30)

Total Time 68:23

Even with the cheezy drum machines, two-chord synth washes, and simple synth bass, I cannot deny that there are some really engaging melodies and soundscapes here--not to mention some cool ideas--many of which apparently came from the late Edgar Froese's notebooks.

A-/five stars; a minor masterpiece of Progressive Electronic music. All hail Edgar Froese: the king is gone but his spirit lives on! And, with music like this, we should be glad that it does.