I know that consensus opinion has it that the Private Music years sucked, and they did, except for Optical Race the first album they made for the label, owned by former Tangerine Dreamer, Peter Bauman. This is a more aggressive edition of the band Something of an anomaly in that it features a drummer, Klaus Krüger, and gives the Dream a more fluid and aggressive sound, especially in the screaming side long title track. This is definitely not a “ghost” band, and this album sends me into orbit as much as any record on this list. This band, with Synth players Thorsten Quaeschning, Ulrich Schnauss and violinist Hoshiko Yamane was in the last band with Edgar, and they have carried on Froese’s works but definitely added some new twists that I find refreshing.
#TANGERINE DREAM ALLMUSIC FULL#
Quantum Gate is the first, full album from the post Edgar Froese edition of Tangerine Dream. Another two-sided excursion that moves from the quietest solo piano spot to thundering sequencers from the heavens. Ricochet was their first live album, although it was all new materiel and sounds like a studio recording. Part of the classic quartet of albums, this was their most commercial release to date and the first album with real melodies. Originally a two sided work, Tangram is a multi-movement opus sometimes sabotaged by episodic writing, but still with some haunting themes amidst the pounding sequencers and more melodic invention than most prior Dream albums. This is one of the last long-form Dream recordings.
#TANGERINE DREAM ALLMUSIC FREE#
This 1972 recording is a drone zone manifesto, and a beautifully enveloping work free of melody, rhythm and just about any other conventional music signpost. Ambient before ambient, but owing much to Gyorgy Ligeti pieces like “Atmospheres,” synths, gliss guitar, organ and “noise generators” unfold in undulating, slow motion patterns across what was a double LP. Playing with a cello quartet, it’s a journey of interwoven tones phasing through each other from acoustic to electric to something entirely new. It’s been called their most experimental CD, but I think it’s their most thoughtful, controlled and uncontrived album. Subsequent live albums would be more pre-programmed performances. This was really the truly last live recording from the group. Johannes Schmoelling had been in the group for a while at this point and his influence is felt in gorgeous melodies and rhythms that have you ricocheting off your seat and between your headphone cups.
This was the Dream working with a precision and structure that earlier works didn’t have, but they were still creating in long-form with a fair amount of improvisation. Listening to Logos, from 1982, you can hear why. Tangerine Dream was an exciting live band in the 70s and half of the 80s. Phaedra is transitional, retaining some of the avant-garde Ligeti-esque texturalism from Zeiton the mellotron-drenched “Mysterious Semblance at the Strands of Nightmare,” but the title track and Rubycon, an album length composition, were definitive journeys into inner space. The Dream bound them in interlocking patterns, mellotron chords and synthesizer textures. The classic trio of Edgar Froese, Christoph Franke and Peter Baumann found the secret of rubber band sequencer patterns discovered by Tonto’s Expanding Headband 2 years earlier. These are the signature Dream albums, the blueprint for every retro-space artist out there, the sound that influenced ambient, techno, and more. Phaedra and Rubycon have always been a pair for me and that pair is half of a quartet with Ricochetand Stratosfear. But it's great as it is - smart, hip machine oriented sounds from masterful players and producers.Ten Tangerine Dream Albums to Blow Your Mind 10 Best Tangerine Dream Albums 2020 If there were more sax, TD's music could be considered an offshoot of smooth jazz. Los Angeles imagery abounds here, as on the rhythmic title cut (the only one to feature sax) and the hypnotic "Rolling Down Cahuenga." Once again, the happy upbeat sequences are more than offset by more reflective ballads like "Electric Lion." While some of the tracks tend to carry on a bit too long, the textures are generally interesting enough to keep things entertaining. You might think the band (comprised of keyboardist-guitarist Edgar Froese, his son Jerome Froese, and keyboardist Paul Haslinger) would choose to rest on its many laurels after so many years, but Melrose rocks as hard as synth created music can, picking up where their previous, very engaging disc, Lily on the Beach, left off. Electronic music seems to have been all the rage, even back in the early '90s, but the Dream (aka Citrus Slumber) has been the innovative force behind much of the John Tesh like synth patterns played on new age stations during that time.
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