AirSculpture ~ England

Impossible Geometries (1995)

---Apr 2005

First ten minutes are more in the ambient field, but they blast out with an incredible sequence, thus placing their stamp on the EM marketplace forever. Overall, this may be their weakest album, and I think that has more to do with the fact they haven’t bought all the cool equipment yet, especially on the analog side.

---10/4/26

This is where it all began for one of the more prolific Tangerine Dream styled English trios coming out of the 90s. I had called out Impossible Geometries as possibly their weakest album, and that may be the case. But it is their first and it remains a strong title. I'm inclined to keep this, and we'll see where the other two remaining titles land after evaluation.

Ownership: 1995 Neu Harmony (CD). Booklet with liner notes. Acquired in 2005.

4//05 (review); 10/4/26 (update)

 

Thunderhead (1998)

Airsculpture were one of a handful of Tangerine Dream revivalists coming from Europe in the late 90s. All of their albums are very good and consistent with the Berlin School aesthetic. Airsculpture are less distinctive than their brethren such as Redshift, ARC, Radio Massacre International, and Free System Projekt. This was the first one I bought by them, but I think I'll let it go.

1998 Neu Harmony (CD). Acquired in 2001. 

2001; 9/5/24 (review)
 

TranceAtlantic (2005)

Of the three prominent UK based Berlin School electronic revivalist groups, AirSculpture were the most purest. That is to say, they never ventured beyond the keyboard trio format. No forays into space rock, or modern electronics. No real drums, or electric guitar. Nope - just synthesizers. So for my tastes, they were the least interesting of the bunch, though I own all their works to the point of this album, as they certainly are very good at what they do.

Playing on another popular theme, this is AirSculpture's trip-to-the-USA album. Whereas fellow countrymen Radio Massacre International weighed in with Solid States, an album highly influenced by Tangerine Dream's Encore, AirSculpture's schtick was the use of acoustic piano that was procured for them onshore. Which I quite liked personally, and a rare deviation for the group. Piano is an instrument that works well in electronic music, providing the warmth and elegance missing in what can be a sterile genre if not done correctly. The album is over two hours long, and each disc opens with a lengthy piano section (I didn't time them, but they're not too long, just the right amount), followed by sequencers, and later, improvisations. That was their stated intention, and pretty much that's what these live concerts are. Two hours is a lot of music, so it's not the kind of album that captures your undivided attention for long stretches. It works better as a soundtrack to a country drive in the evening, or a quiet Sunday afternoon of introspection.

TranceAtlantic was pretty much the last hurrah for AirSculpture from a traditional release standpoint. It was their final CD release for Neu Harmony. The band is still active, releasing only downloads and CD-R albums, which is a pity (there are a couple of exceptions). I stopped here with AirSculpture as well, as it didn't seem the band were going to progress beyond the boundaries they set for themselves. Not necessarily a fair statement, since I haven't heard their albums of the last 12 years, but one based on observations of their first decade together.

1997 Neu Harmony (2xCD). Acquired in 2004.

9//04; 2/26/17 (review)

Also own: Attrition System; Quark Soup

Previously owned: Europa, Fjord Transit

3/4/17 (new entry)

Steve Roach ~ USA ~ Tucson, Arizona

Artifacts (1994)

Steve Roach has had an incredibly prolific career, releasing 100's of albums (Discogs lists a total of 257, which is insane). Today, he's essentially doing the Release-Of-The-Month circuit. It wasn't always this rapid, though already by the end of 1994, Roach had an impressive 19 albums under his belt. I've never heard a bad album from Roach, but with such a huge catalog to choose from, I find myself having to be very discerning. An artist can continue to recreate themselves, but they have a brand as it were. That driving muse, which colors an artist's work. No one can escape that because that is what makes them who they are! 

Artifacts catches Roach mixing his two passions. One is of the desert and the native instruments that define the landscape. The other is electronics, almost the polar opposite from a technology perspective. So you get didgeridoos integrating with Korg's, Yamaha's, and Akai's. Artifacts came along in the era of the CD where many artists felt compelled to fill the entire disc. 77 minutes is a lot to absorb for this kind of thing. 

It would be easy to keep them all, but it's not practical. I intend on picking up every single one of Roach's albums that I see in the wilds (this was a thrift shop find). Whether I choose to hear it once or multiple times will be case by case. And if fate puts me and Artifacts back together, I will re-engage. Perhaps I will come to a different conclusion (or not).

1994 Fortuna (CD). Rough paper booklet with philosophical meanderings and recording details.

9/23/26 (review) 
 

Robert Rich / Steve Roach - Strata (1990)

Another thrift shop find. No surprises from two veterans of the ambient scene. Rich brings the percussive elements while Stearns is the master of sleepy electronics. Hit play and doze into dreamland. I can see where cassettes are a good format for this kind of music. Flipping the cassette is the effort needed to get through it all.

1990 Hearts of Space (MC)

9/6/24 (review)

Michael Shrieve / Steve Roach - The Leaving Time (1988)

Picked this one up for a dollar at the Austin Record Show. The sterilized sound from the beginning is a bit off-putting. However it gets more interesting as it goes, and David Torn's guitar is perfect for recordings such as this. Plenty of sequencers as well. Michael Shrieve was on a world tour joining famous synthesists in the 80s apparently. Holding onto this one.

Ownership: 1988 Novus (LP). Acquired in 2023.

8/16/23 (review)   

Empetus (1986)

Arguably this is Steve Roach's definitive Berlin School album before moving on to more ambient realms. There are plenty of inventive sequences that owe some debt to Schmoelling-era Tangerine Dream, but for the most part he retains a completely original sound. Focus is on structure rather than solos. I have way too many Berlin School albums as it is, but this one remains.

Ownership: 1986 Fortuna (CD). Acquired in 2005.

4//05; 9//05; 11/18/20 (review)

Also own: Dreamtime Return; Structures From Silence

Previously owned: Traveler; Now; Soma; Groove Immersion

11/18/20 (new entry)

Ash Ra Tempel / Ashra (& related) ~ Germany ~ Berlin

The Making Of (1978) 

The Making Of is the jam sessions leading up to what ultimately was released as Correlations. As was Manuel Gottsching's protocol back then, he recorded everything as they went. And we're now the fortunate receivers of this great gift. These three CDs are exactly as stated: Jam sessions. Not professionally recorded, just simply an old Revox A77 with a single mic in the room. Some of the songs are recognizable from the album, others really are just loose jams.Worth having as bonus tracks for certain.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

9/4/26 (review)

Phantasus (1978)

Phantasus was the original name for what ultimately became Correlations (see below for review of the album). It's also a different recording. Though largely the same compositions, you'll hear a rawer, more intimate sound with various tempo changes from what was issued. And a different track order. Had Phantasus been released instead, I most assuredly would have been just as happy with the finished product upon first hearing it. One could argue that Correlations is better produced and adds more studio effects, but the performance is similar. While not a necessary buy on its own, it's a fantastic bonus disc as presented on this 5xCD set. Apparently some folks aren't taking the time to hear it, as 'Springtime' gets called out as a unique track. No, it was simply renamed as 'Oasis' on Correlations.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

8/27/26 (review)

Schwingungen (1972)

Here is the last of the classic Ash Ra Tempel albums that I hadn't added to UMR prior. 

---2/9/01 

Schwingungen, Ash Ra Tempel's second effort, is a vastly underrated album even by ardent fans of the band. Perhaps it's due to the absence of Klaus Schulze? The controversy here surrounds John L., Ash Ra Tempel's one and only vocalizer (singer just isn't an appropriate term here). He is, to say the least, the Krautrock movement's supreme example of a paranoid schizophrenic. For those who are familiar with the LSD ramblings of Dawn on Brainticket's Cottonwood Hill, then John L. is her male equivalent. 'Darkness: Flowers Must Die' just about says it all. And boy does John L. say it all! While a steady rhythm section chugs along (not near the intensity Schulze brought on the debut however) - there are sax bursts, fuzz guitar flashes, tribal drums, and other phased sounds and noises creating a very edgy atmosphere. Through the chaos, John L. is screaming and anguishing (through electronic effects) about the decay of cities and the Earth. Flowers must die, flowers must die", "Die, die, die, die ,die..." and all hell breaks loose. Here, Manuel Göttsching pulls off the most angry and concise guitar solo of his career, and at the end, if the listener is not left in a heap in the middle of the floor - well, they're just not getting involved! In keeping with Ash Ra Tempel's wild side/mellow side theme introduced on the first album, the flip 19 minute composition is an exercise in choral, tranquil electronic beauty - recalling Pink Floyd's Saucerful Of Secrets at their most cosmic and trippy. An album that should leave one emotionally exhausted if paying careful attention.

---12/31/23

All these years later, and I still get a charge out of this album. The album itself perfectly represents a time and place (early 70s Germany). And my personal history created another time and place experience with the album (this would be the later 1980s for me). Timeless.

Ownership: 

1972 Ohr (LP). Gatefold. Acquired in 1988. 

2004 Arcangelo (CD). Papersleeve edition as part of the Ash Ra Tempel promo box set. Acquired in 2004.

1//88; 1992; 2/9/01 (review); 2004; 12/31/23 (update)

Join Inn (1973)

---8/21/99

On Ash Ra Tempel's third album Join Inn we're introduced to Manuel Göttsching's longtime lovely girlfriend Rosi Mueller (who previously only had cameos on Schwingungen and Seven Up). And we get to hear the pleasure of Klaus Schulze back in the drumkit saddle. On this album he provides less drums and more keyboards than on the debut. 'Freak N' Roll' opens the album in typical heavy fashion. Schulze's trademark machine gun drumming technique comes to the fore very early this time - and one would almost expect them to outdo the phenomenal 'Amboss' from the first album. But they climaxed a bit too early and had to settle for Göttsching's unique guitar rambling combined with the Enke/Schulze energetic rhythm section to make it until the finish. 'Jenseits', however, is Ash Ra Tempel's crowning spatial moment. Here, Schulze shows his brilliance with electronics, laying down a tranced out locust-at-night sound while Hartmut Enke defines what a bass guitar can do for space music. Göttsching's guitar just shimmers and flows. But the highlight on this song for me is Rosi's seductive yet fragile and innocent voice whispering on top. I have absolutely no idea what she's going on about, which adds to the exoticism and mystery for non-German speakers.

---11/30/23

Like with Sandrose and East of Eden's Mercator Projected, I'm not sure I'm going to get more peak moments out of Join Inn. Even though it's been 12 years since my last listen, it's as if I knew every note when hearing it last night. I've played this album a ton over the years. That being said, it also maintains its 5 star rating. One of my all-time favorites.

Ownership: 

1973 Ohr (LP). Acquired in 1999.

1973 PDU (LP). This version has Klaus Schulze's name in the marquee. Acquired in 1987.

2010 Belle Antique / MG.ART (CD). Papersleeve. Acquired in 2011.

1987; 8/21/99 (review); 2/2/01; 12/9/11; 11/30/23 (update)

Belle Alliance / Belle Alliance Plus (1980)

Belle Alliance is the second and final album by the trio of Gottsching, Ulbrich, and Grosskopf. There are many similarities to their previous effort Correlations, though there are some exceptions to be noted. 'Screamer' is very much rooted in the New Wave 80s sound, but with some fine psychedelic guitar soloing providing a great contrast of styles. 'Boomerang' tries for a reggae sound, with mixed results, but once again the guitar saves the day. 'Aerogen' gives one an idea of what happens when sequencer based electronic meets a power trio. 'Sausalito' could also be considered an instrumental progressive rock track, similar to maybe fellow countrymen Rousseau. 'Code Blue' goes deep into electronic space, not that dissimilar to Klaus Schulze's late 70s works. 'Mistral' takes us back to the glorious spacey electronics + guitar of the Blackouts album, and is just gorgeous. Overall an excellent, and diverse, album from veterans who were still exploring music in an exciting way. Unfortunately this album concluded the Virgin era for Ashra, as well as the trio itself.

Reviewing the second half separately, since it includes an extra disc of entirely new material. This would be the "Plus" part. There are only three tracks here, of which two make up the majority. 'Flying Turtles' is 11:25, whereas Voices of Heddernheim comes in at a whopping 24:21 ('Urscreamer' is 2:38 for reference). So basically what we have here is the jamming sessions that made up Belle Alliance - though it must be said both of these tracks are entirely unique. With a certain amount of editing, these two would have made a splendid addition to the original LP. Perhaps to be expected, the guitar is more psychedelic here, recalling Gottsching's and Ulbrich's Krautrock past. Personally speaking, I wouldn't want to own this album on CD without this extra disc, which was first introduced on Gottsching's own label in 2008.

Ownership: 

1980 Virgin (LP). Acquired in 1986.

2008 Arcangelo (2xCD). Gatefold papersleeve. Released as Belle Alliance Plus. Extra full album is included. Inside the gatefold are photos of all three in the studio while recording. Acquired in 2018.

1986; 1996; 6/3/18 (review)

John L. and Adamah - Lonesome in Overdrive (1996)

---Dec 2004

A magnificent album that hardly anyone knows about, and it features an original iconic Krautrock freak!

About a couple of times a year, something will arrive that re-lights my collecting fire. Not long ago, it was Del Jones Positive Vibes. Prior to that it had been Berits Halsband that reawakened me. If you saw this CD in the store, you’d pass right over it. The artwork and lettering look like a new age album on the Narada label. It’s dedicated to Greenpeace and half the songs are about whales. It’s subtitled Malinuuga Music, which according to the liner notes is the indigenous rhythm of Europe, unrelated to African and Native American percussion. Yea, well whoopdee doo.

Well boys and girls, the reality is this: Had I sent you a tape and stated "Adamah: Unreleased Ohr album from 1972", you would have had ZERO problem believing me. This is the most authentic slice of Krautrock I’ve heard post 1980. In spirit, sound and intensity. Adamah is not some new age wuss who misses his mommy, but rather a nine piece group that features all sorts of analog synthesizers, flute, clarinet, violin, steel guitar, electric guitar, sitar, various homemade stringed instruments, female vocals and no less than 3 full time percussionists. The production sounds as if Dieter Dirks did a number on it, with loads of phasing and other studio trickery. There is wah-wah, fuzz and all sorts of wild moments found throughout. There’s even the female narration in German ala Ash Ra Tempel's Join Inn. And there’s not even a HINT this is done for a retro market or that it’s the 1990s. This is truly organic, time has completely stood still. And if you are paying close attention, yes, this is THE John L. of Ash Ra Tempel's Schwingungen fame! Here he’s dressed in full-blown traditional Jewish attire, complete with flat brimmed hat, long beard and side curls. And he’s holding one of those aforementioned homemade electric stringed instruments with the Star of David on it. And he sounds pretty much the same as he did on the ART album, with chanting, yelling, semi-singing. Most of the album is instrumental, so his vocals are once again a curious, but fascinating, addition. With a 24 year separation between albums, and both masterpieces, John L. has proven he's one of the true creative freaks of our era.

Ownership: 1996 Green Tree (CD)

12//04 (review); 9/19/17 (update)

Hoenig / Gottsching - Early Water (1976)

Early Water sounds exactly what you expect from Michael Hoenig and Manuel Gottsching circa 1976. Somewhat like New Age of Earth meets Departure From the Northern Wasteland, with sequencers raging and Gottsching letting loose on the electric guitar - more so than he did on New Age of Earth. Apparently this recording was made in the studio just before the duo were to embark on a tour of France, which was cancelled at the last minute. Fortunately Gottsching kept the tapes and sent to Hoenig (nearly 20 years later) who was then residing in Los Angeles as a studio producer. So the whole thing sounds magnificent. If all this resonates with you, this CD is a must own. Otherwise, maybe not the best place to start with either artist, as a 48 minute continuous track may be a bit much to open with.

Ownership: 1997 Spalax (CD). Digipak. Acquired in 1997.

9/23/97; 12/22/15 (review)

 

Starring Rosi (1973)

---2/9/01

Starring Rosi is Ash Ra Tempel's 5th album, and a departure from the intensity of the previous three studio albums, as well as the drugged out live Seven Up outing. Gottsching recruited Dieter Dierks (Scorpions, a million others) not only for his usual superb production ability, but also for bass guitar duty. As well, Kosmische Kourier / Wallenstein standby drummer Harald Grosskopf makes his presence felt (and would later join Manuel in his Ashra trio format of the late 70s and early 80s). As stated in the premise, the album's contents are completely different from the emotional workouts of their previous studio offerings. The mood is light and carefree. And it appears as if Manuel and Rosi are just having a fun date here (she does glow radiantly on the album cover, one must admit). The guitar style shown on the latter half of Join Inn's 'Freak N' Roll' makes its presence on 'Interplay of Forces' and 'Laughter Loving'. 'Schizo' recalls the intensity of the earlier albums, but is sadly all too short. Through it all we have Rosi's lovely spoken voice (in English verse the German of Join Inn) and a bit of ill-advised singing from Manuel (something he fortunately gave up quickly). Overall a very pleasant and unique album. If the proper expectations are set, you will likely be rewarded here.

Ownership: 

1973 Kosmische Musik (LP). Acquired in 2000.

2010 Belle Antique (CD). Papersleeve. Acquired in 2011.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 2/9/01 (review); 12/29/11; 3/8/15 (update)

Seven Up (1973)

---2/9/01

During this period, Ash Ra Tempel were contributors to a kind of cosmic circus, touring around with others of a similar mindset concerning philosophical thought, lifestyles, and music. Seven Up, is the recorded document of this time while in Switzerland. The fame the album has achieved is due in part to two elements: (1) The involvement of drug culture icon Timothy Leary, and (2) the dropping of acid into the band members' 7-Up. While that might sound radical up front, Seven Up is quite tame compared to the first two masterpieces. The first side long montage is a medley of electronics and drugged reworks of pop hits from the 50's and 60's. Unique? Yes. Satisfying? Perhaps not. Side two is a rework of the spacey 'Suche and Liebe' from Schwingungen. This version, called 'Time' and which contains a slightly different opening, is quite good - but not overly moving - and you get the impression the band's ready for bed after partaking in too much alternative nutrition. A much better version of Seven Up can be found in the outtakes and studio reworks found on Gilles Zeitschiff's Sternenmadchen album.

Ownership:

1973 Kosmische Musik (LP). Gatefold. Comes with a small detailed insert. Die Kosmischen Kuriere was the original name for what became known as Kosmische Musik - and this is the debut album for the imprint. Acquired in 1997.

2010 Belle Antique / MG.ART (CD). Papersleeve gatefold. Acquired in 2011.

First copy: 1983 Pop Import (LP). They used the alternate cover as found on the Italian PDU release. Acquired in 1985.

1985; 1995; 1997; 2/9/01 (review); 12/17/11; 3/7/15 (update)

Correlations (1979)

In 1979, Manuel Göttsching once again changed directions for his alter ego Ashra project. Reuniting with former colleagues Lutz Ulbricht (guitar and synthesizers), and Harald Grosskopf (drums and synthesizers), Ashra presented their unique variation of the power trio. Correlations was the first of two releases by the lineup. Once again the mood is light, with bouncy almost funky / disco styled rhythms, heavy use of sequencers, and of course, Manuel's spirited but rambling guitar. And yes it does get psychedelic at times. No doubt Ashra caught the breezy tropical fusion bug that had invaded Germany at this time. One of optimism and good times, if not a bit misguided. An album that has aged incredibly well for me, though I had reservations initially when I first bought the LP. 

Ownership: 

1979 Virgin UK (LP). Acquired in 1985.

2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Includes four other discs taken from the same sessions. Acquired in 2026.

1985; 1996; 1//04; 2010; 2/7/15 (review); 5/23/18; 8/18/26

Blackouts (1978)

---2/9/01

On Blackouts, Manuel Gottsching returned to the guitar once more to release his masterwork of the Virgin era. His blend of soulful electric guitar with whooshing synthesizers and sequencers has never been matched to this day. The set of tracks 'Midnight on Mars', 'Don't Trust the Kids', and 'Blackouts' is simply astounding, and Manuel's guitar playing here is hotter than anywhere since the early Ash Ra Tempel days. The title track is absolutely on fire by the end of the piece. 'Shuttle Cock' possesses the sound on sound guitar of Inventions For Electric Guitar.

---1/22/15

The original LP states that Gottsching plays "Sequencer, Keyboards, and a lot of guitar" and he thanks Udo Arndt for the "lonely guitar sound". As well as "This record should be heard comfortably". I cannot for the life of me understand the criticism this album gets. I've had this on LP for over 30 years, and there is an amazing vibe here that I never tire of. I've spent many hours closing my eyes and listening intently to it visualizing the imaginary movie it projects. A brilliant masterwork for my tastes.

Ownership: 

1978 Virgin Netherlands (LP). Single sleeve. Acquired in 1985. 

2008 Arcangelo (CD). Papersleeve. Has Manuel Gottsching's name on it instead of Ashra. Acquired in 2018.

1985; 2/9/01 (Gnosis); 1/22/15 (update); 6/17/18

The Private Tapes Vol. 3 (1971-1974 / 1996)

---7/28/96

There are three Gottsching solo guitar tracks from 1973. These were all in preparation for the Starring Rosi album and predate the concept he'd use eventually on Inventions for Electric Guitar.

There's one lengthy 27 minute track from 1974 with Lutz Ulbrich from Agitation Free and later a member of the Ashra trio with drummer Harald Grosskopf. It's a long spacey track focused on keyboards, but with some fine guitar work as well. Relates closest to Le Berceau Du Cristal, another archival release from Manuel Gottsching.

The final track is a 32 minute freakout jam from 1971 along the lines of the debut album ('Le Bruit des Origines').

---3/1/10

This is one of the legendary six volumes that Manikin unleashed on the public in 1996. They came out in the late spring while I was backpacking through Spain in 1996. When I arrived home, I was told about it. The retail price was $100, and I was a bit short on cash from my trip. I went ahead and got them anyway, at the encouragement of some friends, who all knew I was a big fan of the band. Thank goodness, as this set is known to go for ten times the price I paid. Manikin reissued a 2xCD compilation, but for some reason these 6 CDs remain without another reissue.

Ownership: 1996 Manikin (CD). Acquired in 1996.

7/28/96 (review); 3/1/10 (update)

 

Le Berceau de Cristal (1975 / 1994)

1975's Le Berceau de Cristal (not released until 1994) is a soundtrack to a French film, which displays the logical development between the Ash Ra Tempel and Ashra albums. Manuel Gottsching lined up with friend, and former Agitation Free guitarist, Lutz Ulbricht to continue his exploration of cyclical guitar sounds and electronics. It's truly a successor to Inventions for Electric Guitar, with sound on sound electric guitar at its core. This coupled with some sequencers, Farfisa, and other synthesizers added on top. Wonderful late night listening that has that cosmic Berlin School sound.

Ownership: 1994 Spalax (CD). Brief liner notes in French with a vintage photo. Acquired in 1996.

1996; 1/16/10 (review); 12/30/21

Inventions For Electric Guitar (1974)

---2/9/01

Here's where Manuel Göttsching began his solo career, though he maintained the Ash Ra Tempel moniker for one more album. Inventions for Electric Guitar was a revolutionary album for the day and is still forward-looking over 35 years later. Creating a sound-on-sound electronic vibe using only guitars and tape loops, Manuel weaves a wonderful tapestry of music that is at once intense and yet beautiful. He adds color with vicious solos while the guitar loops are bouncing in the background. Yet another brilliant work - and something entirely different for his past works.

---1/10/10

It's been said this is the first electronic album performed entirely on electric guitar. And while Achim Reichel employed a similar tactic, his albums were group efforts. Gunther Schickert, another follower of this technique, also first released his landmark Samtvogel in 1974.

Ownership:

1974 Kosmische Musik (LP). Acquired in 2020. 

CD: 2004 Arcangelo (Japan). Papersleeve edition as part of a box set that includes Ash Ra Tempel's first 2 albums.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 1995; 2/9/01 (review); 4//05; 1/10/10 (update)

Ash Ra Tempel (1971)

---2/9/01

Germany. 1971. Underground. Those three terms evoke images of the Berlin Wall, intensity, angst, freedom.

Very rarely is a moment so well captured just through music. Yet this is just what happened on Ash Ra Tempel's self-titled debut. The opening piece 'Amboss' (Anvil), is one for the ages. Starting with dark sounds that seem like shadows, created only with primitive electronics and guitar, the piece seems on the verge of falling into a black abyss to never return. Slowly the tension builds to a deafening crescendo, and without warning, Klaus Schulze begins his definitive piledriver drumming pattern. What could be possibly more intense and more chaotic? The listener is pounded into submission. Only to be equally mutilated by Göttsching's furious jamming, certainly the most intense, psychedelic, heavy guitar ever recorded. After a few minutes of this sort of violent cosmic blues jamming, there is a sequence of free-jazz drumming and electric guitar polka-dots that just burst into another firestorm, and along comes Schulze even more furious than before with Göttsching and Enke trying to subdue the entire German nation with their blistering guitar work. The Berlin Wall must fall! It doesn't - but certainly the musicians must have. One gets exhausted just listening to it! This 19 minute opus is followed by the exquisite 25 minute 'Traummaschine' (Dream Machine). Again, the mood is somber but slowly the sound gets louder. The band manages to achieve an electronic cadence while the guitars and electronics swirl. Hand percussion enters in and Göttsching turns up the fuzz for another biting solo. There is a period of rest and again the rollercoaster begins for yet one more jam. To this day, there has never been an album of music that sustained this kind of intensity for 40 minutes. How they were able to so without a moment of wasted time is a testament to the brilliance of one of the greatest albums of all time.

---1/9/10

This album had been my Holy Grail for about three to four years. I first discovered Ashra / Ash Ra Tempel back in 1985 from a store called The Record Gallery in Dallas when I was midway through college. The odd thing about Ash Ra Tempel, is that all of their albums starting with Seven Up were reissued by Pop Import in the early 1980s. Those are the copies this store had. In Dallas, in 1985, I can assure you no one else did, not even Metamorphosis by then (locals will know what I mean). So with that, finding the first three albums became my determined quest. I found the PDU copy of Join Inn in 1987 as I was wrapping up my degree. And scored Schwingungen in early 1988. And finally, after years of searching, I scored the PDU version of the debut in late 1988. From the late great Jeff Baker. It was $55. Where the hell did I get $55 for a record? I have no idea. But I did and never regretted a second of it. My first listen was an unforgettable experience. Right around Christmas in fact.

Ownership: 

1972 Ohr (LP). 56 label / 556 cover. Comes in an extraordinary fold-out-of-the-middle gimmix cover. Acquired in 2004.

2004 Arcangelo (CD). Papersleeve that replicates the original gimmix cover.. Comes in a box set, that -opens up to three mini-LPs, which also includes Schwingungen and Inventions for Electric Guitar. Acquired in 2004.

First copy: 1976 PDU (LP). Acquired in 1988.

1988; 2/9/01 (review); 1/9/10 (update)

Other albums I own: New Age of Earth; Friendship; The Private Tapes Vol. 1-2, 4-6

Albums previously owned: Walkin' The Desert

1/9/10 (new entry)

Klaus Schulze (& related) (1980s and beyond) ~ Germany

Dreams (1986)

Though I was very much tempted to keep on buying new Klaus Schulze product, I did stop after Inter*Face in 1985. I felt I owned enough already and was exploring many other albums and styles in my later years of college. Dreams would have come along in that final year before I was unleashed into the workforce, and newly armed with paychecks to spend. But I was done accumulating Schulze albums then as well.

It's only in the last ten years that I picked up Dreams to see what I missed. On my initial listen, I enjoyed it enough to keep, but didn't get any words down. So let's do that now on my second go round.

As Schulze admits in the liner notes, this album is very much an orchestral effort. Much of his work during this era is as much classical as it is electronic, though the latter most certainly represents the instrumentation. He was also conscientious about listing all his gear around this time, stating it distracted from he wanted to accomplish with his "electronic orchestra". Much of the music here sounds very familiar. Too much so honestly. The title track, though, was a refreshing ambient break. The final lengthy piece does feature vocals, usually not a positive for electronic albums, and this is no exception.

Now the bonus track is worth noting. It was originally a promotional only CD single (released in a quantity of 300) to advertise the Andromeda analog synthesizer in 2003. It was, and still is, an incredibly rare piece changing hands for hundreds of dollars. That won't likely change, but not only do you get the full "song" (as Schulze calls it), but apparently the full version was 40 minutes long. So he added a few minutes for the bonus to fill up the CD. Though the synthesizer is unique, his demonstration of its abilities sounds similar to many other synthesizers he has in his possession. All the same, it's the highlight of the disc. Enough so for me to keep. To my ears, the Andromeda doesn't really sound all that analog. In reading about it, apparently it is state of the art and is now highly sought after. Today it goes for a small fortune.

Ownership: 2005 Revisited (CD). Tri-fold digipak. Booklet with a bio of Schulze and an article about Dreams. Also includes the bonus track as noted above. Acquired in 2016.

1/31/16; 5/20/26 (review)
 

Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)

---10/2004

‘Communique Approach Spiral’ is out-of-the-box early 80’s Schulze with all sorts of overlaid live percussion, with actual human hands, by Shrieve. Of course, this latter element gives it the life it craves for so desperately on those tired Schulze albums of the era. ‘Nucleotide’ is a five minute experimental ambience and electronic percussion work. The title track is similar to the opener, but a little faster, creating the image of a modern world caught up in fast transportation – perfect for the IMAX theater. Though they throw in a curveball smack dab in the middle of the song - an 80’s style funk groove ala Level 42 (it repeats near the end of the song as well). It’s hilarious in its incongruity. It’s the closer that separated this from the masses. ‘View From the Window’ is an aptly named piece, beautiful in its execution of electronics and rhythmic, yet melodic, cyclical guitar. A great way to end an album. I find it funny the back cover uses the 1977 stock photo of Schulze.

---4/11/25

Technically this is a Michael Shrieve album but it has Schulze's fingerprints all over it. Certainly Michael Shrieve has influence here, and it's a percussive driven album after all. But then again, Schulze was a pioneer in using drums and later drum machines in electronic music. The layered sequencers are all vintage Schulze. The title track illustrates this with Shrieve adding all sorts of acoustic percussion on top of the synths. And I like the Alan Parsons Project-styled funky guitar bit. Brother Kevin plays the guitar and electric piano, though his contributions are more subdued. However his most notable presence is the closer 'View From the Window', a beautiful pensive number that does make one want to look out the window on a bleak rainy day and reflect on one's life. I bought this album when it came out, having been a Schulze fan for about a full year. Has the optimistic feel of the early to middle 80s, when technology seemed like an endless dream. A dream that personified over the course of the decade.

I had forgotten about my 2004 review until I finished today's listen, so you can see I have some differing viewpoints from 20 years ago.

Ownership: 1984 Fortuna (LP). With insert. Reacquired in 2024. First purchased in 1984.

1984; 10//04 (review); 4/11/25 (review)

Audentity (1983)

Had some trade credit at a local store to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the middle 80s. It's only half the album, as the German pressing is a double. Musically it's precisely what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here but a great reminder of an optimistic time.

Ownership: 1983 Illuminated (LP). Reacquired in 2023. First purchased in 1985. 

1985; 10/24/23 (review)

Beyond Recall (1991) 

Klaus tells us this is his 23rd solo album. That would be not counting archival releases, otherwise it would be his 2,300th album. There's really nothing at all wrong with these past-his-prime Schulze releases, but they aren't particularly enlightening either. 77 minutes of Schulze at this stage is purely background music. There's a lot of what sounds like acoustic guitar here, but it's just more synths. I don't have any nostalgia towards this title, as it came along way past my initial discovery and enamoration (not a word, but it should be!) for the artist. My electronic collection grew out of control about 17 years ago, and it's time to trim some of that tree. And this is a low hanging branch.

Former ownership: 1991 Venture (CD). Acquired in 2011. Downsized in 2022.

3/31/11; 3/20/18; 3/18/22 (review)

Inter*Face (1985)

I bought this album right after it came out, while still in college. Ten years after that, needing shelf space, I sold it in one of my LP catalogs. And now 20 years later, I have the original CD in my possession for the first time. 

Anyway, the reason I sold the album is I had a boat load of Schulze already (if I only knew then how much he was about to release...), and this one seemed superfluous at the time. Perhaps it still is, I dunno. Sure, there's a bit of Klaus-on-auto-pilot going on here, and the tracks linger for longer than they need to, but doggone if this doesn't set the right mood. And the epic long track recalls Schulze's 70s sequencer works, more so than the proto-chill-out of the first side. Plenty of great (real) percussion adds to the vibe.

Ownership: 1985 Brain (CD). Acquired in 2016.

First copy: 1985 Brain (LP). Acquired in 1985.

1985; 12/4/16 (review); 9/21/26

Albums from this period that I own: Dig It; Dziekuje Poland; In Blue

Previously owned: Drive Inn; Aphrica; Moonlake; The Dome Event

Plus dozens of others will likely flow through here eventually.

12/4/16 (new entry)

Bizarre Ko.Ko.Ko. ~ Austria

00 Time (1984)

---1/21/11

Regular readers of the CDRWL know that I'm quite fond of the Berlin School of sequencer based electronic music. And that's where Bizarre Ko.Ko.Ko. fits in perfectly. In fact, this is version 2.0 of Cultural Noise, an LP from my collection that I fawned over way back when. This isn't that dissimilar from Cultural Noise, though it's clearly moving away from the Tangerine Dream influence, and adding an overall darker mood. Mellotron, sequencers, and guitar are all present, especially early on. It begins to deconstruct towards the end, making it sound more like an early Klaus Schulze effort (think Cyborg). Really a fine effort and a must hear for EM fans.

---3/16/26

That was the original CDRWL entry, penned after acquiring the LP. This is my first revisit since and I'll add it here to UMR.

One can't talk about Bizarre Ko.Ko.Ko. (would like to know the reasoning behind that moniker) without referencing Cultural Noise. And that's because they are 2/3rds of the same band. Looks like it was Gerhard Lisy who sat this one out. The crazy titles stayed in place as well, with 'Retracting The Reflected Consciousness Of All Having Come To Into Being' taking first prize. And look at that cover. What the hell were these guys into? Alien insanity, that's what. If curious, the cover was done by one of the two members of the band: Walter Heinisch. Clearly Hans Rudolf Giger was an influence here.

Musically these guys were still entrenched into the analog 70s. No hints of 1984 here. This isn't their "Poland" or "Drive Inn" album, that's for sure. Some very inventive sequences can be heard, especially on B1. I referred to B2 as deconstruction, but there's plenty of sequencing there too.  

Ownership: 1984 Synoptik (LP). Acquired in 2011.

No CD reissues as of 3/16/26. Has been reissued on LP.

1/21/11 (review); 3/16/26 (update / new entry)

Radio Massacre International ~ England

Emissaries (2005)

---Oct 2005

What an outstanding release this is! RMI had hit a bit of a rut in my opinion, starting with Planets in the Wires (ED: since rectified - see review below). All their (proper) albums are good, but they were missing some oomph recently. This has some amazing sequencer, mellotron action. Some real drums and pulverizing guitar add to a great album. Their best in a long while.

---2/16/26

And it's been a long while since I heard this - as in the day I received it 20+ years ago. As pointed out elsewhere, I loaded up on Berlin School albums in 2005, so the fact I was offering high praise to Emissaries in that same year is notable, given the huge potential for overload.

Radio Massacre International were an unusual choice for the avant prog focused Cuneiform, but it proved to be a fruitful relationship that lasts until this day. Emissaries is RMI's debut for the label. And a whopper at that, a sprawling two full CDs. The first CD is a studio recording while the second is a live concert in Philadelphia.

What does one seek to hear on a Berlin School Electronic album? The creativity of sequences, the texture of sounds, the atmosphere, and the melodic songcraft. As a bonus, if one gets more analog non-keyboard instrumentation, especially electric guitar and drums, then you probably have a winner on your hands if the group executes on all the above.

And that's exactly what Emissaries does. The band also adds a few brushes from the style palette. This isn't 1977 Tangerine Dream emulation, as they might have done in the past. Though there's no mistaking their Berlin School roots, one gets to hear an almost progressive rock approach to the compositions. The second disc is looser in structure and there are many cosmic blues segments created by the guitar.

Two hours and 16 minutes is a lot of music to absorb. RMI are to be commended for keeping it varied throughout so as to not be a monotonous listen. I'm guessing my initial enthusiasm came from that perspective, as it was a deviation from the norm. There are more moments of dithering about than I had realized on initial impact. Now I'm not so sure this is a top tier RMI release. Certainly it's a keeper for now, and once all of my RMI collection has been heard, I should be able to discern what are the best titles for me to keep.

Ownership: 2005 Cuneiform (2xCD). Booklet includes liner notes. There's also a comic strip in .pdf that I have yet to view. Acquired in 2005.

10//05 (notes); 2/16/26 (review)
 

Republic (1996)

---2006

It’s been awhile since I’ve listened to any Radio Massacre International, and even longer on the earlier ones that got me hooked initially. I think Republic is the first one I bought in 2001 and started me on a tear of picking up retro Tangerine Dream style bands from the UK (Red Shift, AirSculpture, Arc, Under the Dome, Arcane, etc…). Tangerine Dream laid out an interesting framework from Phaedra to Encore, one that wasn’t copied by anyone, including themselves, for over 20 years. There were some mild attempts, usually by solo artists (which is near impossible to do – you need the synergy of at least two people to accomplish some interchange of ideas). Then finally some of the groups I mentioned above started getting serious about it. Another key ingredient is the use of analog synthesizers (Moogs, VCS, Elka, Mellotron). What I like is that RMI and the others don’t exclusively go retro and will use modern technology to their advantage. But they didn’t abandon the past either. Then there’s the development of each piece. No cruise control sequences for these guys, they’re always twiddling knobs and adding / reducing sounds as they go. Just sit back and watch the world go by. Here’s your soundtrack.

---12/1/25

Another album I haven't documented in the UMR era, even though I snuck in one listen in 2014. Not that my viewpoint has changed in the near 20 years since that review. Some more detail though. There's only three tracks. Each over 20 minutes, filling up the entire CD. It doesn't start off in bombast mode however. The opening track is a slow buildup, with plenty of sequencers and mellotron to set the tone. 

The second composition is similar, though the sequencers become more powerful about eight minutes in. And then you can hear that the guitar is gearing up to let loose. And then he does just that, with roaring synthesizers in the background, at the same moment they unleash the dark choral mellotron. That combination is a tough one to beat, no matter what genre of music you're hearing. This piece gets very intense in places, like we hear from Tangerine Dream on their archival live releases from 1977. The ending of this incredible track sounds more like Heldon than T. Dream.

Not to be outdone, Republic then goes into that same dark cavern with a lake, as I describe on my Rubycon review. Choral mellotron defines the haunting mood. The question becomes, are we going to exit along the river or stay there forever? The sequencers then begin to provide the light so we can see our way out. Optimism is reflected in the flute tapes of the mellotron. The pace of the sequencers continues to increase. By the 19 minute mark everything is louder and more intense. For the last six minutes we have a chance to reflect on all that has happened.

If you're going to get into Radio Massacre International, then I'd suggest Republic to be at the top of your list.

Interesting to note, this album isn't listed in ProgArchives though most of them are. This is one of their landmark albums, so a strange absence for certain.

Ownership: 1996 Centaur (CD). Acquired in 2001.

2001; 2006 (review); 12/23/14; 12/1/25 (update)

Planets in the Wires (2001)

According to my database, I have accumulated 14 RMI albums to date, and sold one (Zabriskie Point). Too much of the same thing you ask? That's kind of where my head was at going into this listen. Of all their albums that I do own, I've held this one with the least regard.

Now I'm not so sure of that assessment. I will say that it is too long, and the 75 minute length could have been trimmed by 20 minutes, easy. Some of the lengthy "ambient" sections don't add much to the recording and get away from what Radio Massacre International does best: Essentially copy Baumann-era Tangerine Dream. But once the sequencers begin to roar and Gary Houghton begins to wail on his guitar similar to Edgar Froese, well it sure is hard not to appreciate the contents within. I probably do have too much of this kind of stuff, though.

Former ownership: 2001 Northern Echo (CD). Acquired in 2002. Downsized in 2026.

2002; 6/24/22 (review)

Solid States (2003)

Solid States is made up of four live and studio concerts during November of 2002, performed in both Philadelphia and the Los Angeles area. This is one of Radio Massacre International's more psychedelic releases, and that's primarily due to the abundance of electric guitar. Basically what we have here are long journeys of Berlin School electronic music with fat analog sequencers, mellotron, and loud acid guitar solos. If this sounds like Encore-era Tangerine Dream, including the concerts-in-the-USA theme, then yes, you have tracked the scent indeed. One cannot possibly get enough of 'Coldwater Canyon' in my book, and here you'll swim in roughly two and a half hours of it. Essential.

Ownership: 2003 Northern Echo (2xCD). Acquired in 2003.

2003; 5/26/16 (review)

The God of Electricity (1994 / 2000)

In effect, The God of Electricity is Radio Massacre International's earliest album, though not released until 2000. The album was recorded throughout the summer of 1994, and later pieced together, which is a bit different than the normal RMI protocol. It's a darker work, with synthesizers dominating the proceedings even more so than later in their career. The sequencers remind us once again that Baumann-era Tangerine Dream is the blueprint for all future RMI recordings. The God of Electricity is yet another excellent album from RMI, though I wouldn't recommend it as a starting place. Better to try their actual debut Frozen North to get the true Radio Massacre International experience.

Ownership: 2000 Centaur (CD). Acquired in 2001.

2001; 11/1/16 (review); 4/3/25 (update)

Septentrional (2006)

Radio Massacre International have to be viewed as one of the most innovative of recent groups. Certainly within the electronic music space, a field that has the same devotion and non-wavering loyalty to sub-genres as does heavy metal. You're either "Berlin School" or "Ambient" or "Techno" or any other such labels, but you shouldn't be all of them - say many fans. RMI, who started out pretty much strictly "Berlin School", are now all the above and more, with recent excursions into tripped out Krautrock, and whatever else they feel like doing. Septentrional is one of their most polarizing CD albums (their privately released CD-R's are even more controversial). Produced by Ian Boddy, and released on his DiN label, Septentrional is RMI at their most modern and cutting edge. But in a paradoxical way. See, Septentrional has more of that ancient mellotron than any of their other albums. Of course it's put through the production grinder and is echoed, techno'd, phased, manipulated, and ultimately tortured through Boddy's mad scientist lab. It's all rather fascinating. Headphone music for the modern age. If looking for just one composition to leave your jaw hanging, may I suggest 'Trident', which is truly a beautiful thing to hear and behold.

Ownership: 2006 DiN (CD). Acquired in 2008.

2008; 10/18/15 (review)

Frozen North (1995)

It all starts here for Radio Massacre International (RMI). That most creative English band that almost single-handedly brought back the Berlin School trio format back to prominence. All three perform on a raft full of analog keyboard equipment (yes, of course, mellotron, Moog's, etc...), while one doubles up on electric guitar. Sound familiar? Sure it does. So if you're looking for about 20 more quality albums from the glory days of Tangerine Dream's "Virgin Baumann years", well do I have good news for you! Not that RMI was content to just sit in that same zone, as many of their albums followed other trends of German Kosmische, but primarily RMI were all about sequencer and atmospheric mid to late 70s Tangerine Dream. And the double CD Frozen North is the perfect place to start (if you can find it that is - I bought mine not long from its release date). We are talking two hours and 15 minutes of Encore meets Rubycon era Tangerine Dream. Not a mere copy, but yet a completely unique take on a classic sound. To say it is essential for fans of Berlin School elektronik music would almost be understating the matter.

Ownership: 1995 Centaur (CD). Acquired in 2003.

2003; 12/21/14 (review)

Knutsford in May (1997)

The hardest part about writing on Radio Massacre International, is that they have so many doggone great albums, it's near impossible to determine what is great from what is really great. If you're a fan of the Berlin School of electronic music (Tangerine Dream, Klaus Schulze, etc...), and you like sequencers, mellotron and electric guitars (and even real drums on later albums) - then do not wait another second - don't walk, but run out, and buy at least one RMI album. You almost cannot go wrong, though as I said in the prelude, there is a bit of separation on their respective titles. Knutsford in May is one of their can't miss titles for fans of the genre. This one has more than its share of mellotron and guitars, and while listening to this you'll feel like someone dropped you into Edgar Froese's studio circa 1975. RMI have completely mastered the style, and if you're looking for a starting place - Knutsford in May is as good as any.

Ownership: 1997 Centaur (CD). Acquired in 2001.

2001; 10/10/06; 5/17/11 (review)

Rain Falls in Grey (2007)

As stated in my review for Septentrional, Radio Massacre International are one of today's most innovative groups. Case in point: Rain Falls in Grey. On this outing, RMI pay their respect to Syd Barrett. Musically this is RMI's most overt space rock effort, with raging electric guitars, and ferocious drumming. As well, RMI have successfully created those magical atmospheres that one would typically find on an old German Ohr release, who themselves were enamored with late 1960's Pink Floyd. This being RMI, one is never too far from classic mid 70's Tangerine Dream, and the combination of the early Krautrock sound with "Berlin School" electronics is highly fascinating. After a bit of a lull at the beginning of the decade, RMI has created a triumvirate of classic releases starting with Emissaries. Each represents an entirely different sound. Rare is this kind of innovation found, much less from a band whose recording history was almost 15 years old by this point.

Ownership: 2007 Cuneiform (CD). Acquired in 2008.

2008 (review)

Other albums I own: Organ Harvest; Borrowed Atoms; Upstairs Downstairs; Walking on the Sea; Time & Motion

And they have tons more than this, especially when one considers all the downloads and cd-r's.

5/17/11 (new entry)

Tangerine Dream ~ Germany (70's / 80's)

This post will only include their commercial albums from the 1970s and 80s, otherwise it will get too unwieldy. There will be another page for their archival albums. I will also eventually create a post for their output from the 90s and beyond.

Alpha Centauri (1971)

---Jun 2005

Droning organ, flute, pounding drums. Side 2 is “spewspewspew” electronics and flute. Klaus Schulze used this sound quite a bit on his first two albums as well. Oh, this era of Tangerine Dream was all too short!

---11/7/18

An important album, though not as satisfying as I always want it to be, having owned it in one form or another for 35+ years. I do have a fondness for the style all the same. 'Fly and Collision of Comas Sola' possesses some incredibly atmospheric flute, and pounding aimless drums. Droning organ is the primary driver here. A bit static on the whole, which defines this album and the next 2.

---1/5/26

The above was an early Journal entry that I long ago put in draft status. I never did flesh out these thoughts, so Alpha Centauri finally makes its debut into the UMR. This was to be the last Tangerine Dream album for me to acquire on my original journey (along with Atem on the same Virgin 2xLP set), having to wait until early 1985. That's significant because I had absorbed Electronic Meditation quite a bit by then. I also knew Zeit pretty well, and honestly wasn't looking for more of the latter at that time. It was my secret hope that Alpha Centauri would be another unhinged psychedelic ride like the debut. There were hints that may be the case on 'Fly and Collision of Comas Sola', but it never materialized in that manner. The sporadic and scattered drumming and flute forays are exciting though. One wishes Froese went wild on the guitar for an extended five to six minute freakout. No such luck. The title track, as the name might indicate, goes deep into space. Flute, early synthesizers (machines), glissando guitar, and organ are the primary drivers of the music. Sort of a prelude to what was to come on Zeit. The overall atmosphere is irresistable. I keep hoping more material emerges from this era of the group, though I suspect by now that will never transpire. There is a live concert from 1971 (Frankfurt Goethe) that I understand to be of poor sound. I'll eventually seek it out for a listen.

 

Ownership: 

1972 Ohr (LP). Gatefold. Slightly later press. Acquired in 2003.

2004 Arcangelo (CD). Papersleeve gatefold. Includes a mini CD of the Ultima Thule single. Acquired in 2005.

First copy: 1981 Virgin (2xLP). Gatefold with Atem. Acquired in 1985.

1//85; 7/3/01; 6//05 (notes); 11/7/18 (more notes); 10/18/22; 1/5/26 (review)

Electronic Meditation (1970)

As noted here many times I became something of a fanatic for Tangerine Dream starting in 1982, and began to track down any album I could. One of the albums that had proven elusive was their debut, Electronic Meditation. Finally I secured a copy in the Fall of 1983. Got home, undid the shrink, and put the LP on the turntable.

I most certainly wasn't expecting this. I didn't even know where to turn. I had no reference points for what I was hearing. But I was completely captivated by it. It took me months to even hear it properly, parsed to where I could even understand it. Like trying to master a foreign language in that way. 

23 years ago for Gnosis I wrote (edited for relevancy): "Eventually I became entranced by their reckless, though oddly composed, psychedelic abandon. Organ, flute, drums, guitar, cello, found sounds. Every aspect of this was new. The intensity of  'Journey Through a Burning Brain' with Froese's screaming guitar and Klaus Schulze's piledriving drum technique has rarely been topped on any album by any group, to this day. 'Cold Smoke' and 'Ashes to Ashes' are psychedelic to the hilt while still being thoroughly experimental (in a modern classical music way). I needed more of this! And it has been a lifelong search. Through this I was to discover the vast Krautrock scene and forever changed the way I hunted for records. Later on I was to find out that I had stumbled onto the "Ohr" years (now mysteriously known as the "Pink Years") of Tangerine Dream, their most experimental period. Of course I was later to discover Ohr was the groundbreaking German label that also introduced legends such as Ash Ra Tempel, Embryo, Mythos, and Guru Guru while also spawning the Brain and Kosmische Kouriers labels. Electronic Meditation featured the one time lineup of "geniuses" that could no way get along for much more than one album. Edgar Froese on organ and guitar, Klaus Schulze on drums, and electronics and Conrad Schnitzler on cello, guitar, and electronics. The album also featured two other players on organ and flute that go uncredited (one was future Embryo member Jimmy Jackson)."

To explore some of the themes above further: Once I did grasp the contents, I wanted more of it. But where and who and how? The album seemed to have no peers. So I began a lifelong quest of researching obscure music. More than any other album in my collection, I credit Electronic Meditation for my interest in the darkest recesses of the underground. The vibe this album possesses was like none other. I'd heard some early Pink Floyd, but this was way different. It was another world. I had to find more like it, and eventually did. This was long before the internet so gathering data in those days was tough. Talk to record store workers, read Goldmine magazine, grab every piece of interesting music literature you could find.

But why would such music interest me so much in the first place? I was no radical teenager. I did well in school, got along fine with my parents, always polite at church, worked hard to make a dollar, etc... As noted somewhere in UMR, I had some pent up anger to let out in the late 70s (mostly forced bussing to the housing projects related) which is what got me into heavy metal. Fine, easily explained. The magical moments that Rubycon provided one can attribute to an unfettered imagination. But this? One images a rundown flat in Germany with a single ray of sunshine glaring through the morning haze of pot smoke, copies of Das Kapital strewn about on the floor, barely clothed frolicking youth running around aimlessly. Throw away your books and rally in the streets. Anarchy, man.

Electronic Meditation is the musical personification of the word subversive.

OK, why did that resonate with me then? At the time I didn't think about it, I just wanted more of it. The music hit a core nerve. Years later it occurred to me as to why. Even as a little boy I had a fascination with Europe. If we went to the school library, while other kids pulled out familiar books, I'd go and seek out titles like "Austria", "Belgium", and "Sweden". These were education books and many of the photos were of traditional costumes, which were probably not any more relevant than us Americans running around in Yankee Doodle outfits. But it still captivated my imagination. I want to go there! Then the real kicker was television. Funny to think we only had six TV stations, yet I could find more interesting shows to watch then than I can now with 500 stations at my disposal (not including the internet). I loved the British spy shows in particular, and anything that was psychedelic, even though I had no idea what that term even meant. PBS was good for those kind of shows back then. And we really got to see some weird movies on our one UHF channel (Ch. 39 in Dallas). Why did I like those shows so much? I have no idea actually. Like I said above - it was a foreign world that I wanted to explore more. And I did that too once I was an independent young man.

I have so much personal history with Electronic Meditation that it's hard for me to show any kind of objectivity. This would be another Top 25 Most Important Album if I made such a list. I tend to bristle when I see folks give this album the short shrift. But I've come to terms with that too. If you're a fan of the familiar Tangerine Dream sound, this would be pure cacophony to the uninitiated. How would have I reacted to this album had I heard it at age 59 for the first time rather than at 18? Exactly - not for me. 

Electronic Meditation ended up defining one of my key interests in music. It makes no sense in the end, perhaps adding to the allure of it all.

Ownership: 

1971 Ohr (LP). Gatefold. The familiar 556 version. This was something like my 4th upgrade (guessing early days of ebay 1999). Original 1970 56's, especially with the balloon, are very rare. 

2004 Arcangelo (CD). Papersleeve gatefold that was thoughtful enough to include a sealed balloon with the small cutout to support it. Acquired in 2005.

1987 Relativity (CD). Acquired in 2025.

First copy: 1984 Virgin France (LP). Acquired in 1983.

9//83; 7/3/01; 11/1/15; 1/8/24 (review)

Optical Race (1988) 

I've been pleasantly surprised at my reaction to some of the post Underwater Sunlight albums. But... uh... no. This album is really cold and clinical. I've mentioned this before that I saw them live in concert to support Optical Race (1988 in Dallas). And the only parts of that concert that were yawn inducing came from this album, which they fortunately kept to a minimum. The rest was an homage to their 70s past, including Froese wailing on the guitar. None of that here! (Jul)

Source: 1988 Private Music (LP)

7/24/23 (review)
 

Rubycon (1975)

For Caravan's In the Land of Grey and Pink I wrote: "On the top bar of this site I show My Top 25 Most Important LPs and CDs. But what I don't show is my Top 25 Most Important Albums, which is a bit different if you follow the theme of the above. In the Land of Grey and Pink would be one of them if I did." 

And with that premise, Rubycon is likely to be number one of the entire lot. I haven't crafted that list because I don't think I can. The physical importance of the time and place of owning a particular LP or CD is easier than grasping the importance of the music minus that element. My story of acquiring Rubycon for the first time is typical. I bought the US commodity Virgin LP pressing new at Sound Warehouse in Dallas sometime in late 1982, not long after acquiring Exit. I go into great detail with the beginning of my Tangerine Dream journey on that album's entry. I played Rubycon in my room while watching a football game or fiddling with something else. Over and over - and over - and over. The music was penetrating my mind. It became my favorite album to go to sleep to. I was a senior in high school, and this is where my independence streak was really beginning to form. I always had one, but it was suppressed. Hard to believe now, but I even took a turn at being a popular kid only one year earlier. It felt good to be accepted, to be one of the cool kids after years of being kicked to the sidelines by those same people. But it was hollow, mindless stupidity. I liked the pretty girls that invariably find themselves in these situations, but little else. Especially the music. Rubycon was the album that was reflecting back to me who I really was. I had more to offer than being popular. What exactly? I had no idea then, but this album captured my imagination wildly and I made all sorts of fantastical movies in my mind.

---7/3/01

(At the record store) I was going to pick up the most "interesting looking" LP of theirs. It would be the album that would change the way I listened to music forever. To this day, I consider it one of the finest masterpieces ever committed to tape. That day I brought home Rubycon and things would never quite be the same for me. Rubycon is a journey into the vast unknown, on a boat floating down a river, early morning sunlight, birds flying overhead. An undiscovered cave deep in the Amazon. Within is a gothic stalactite cathedral where mystical spirits reside (represented by choral mellotron). Flashes of bright lights, river rapids send me quickly (fast sequencer run). I see glimpses of all the world's secrets. I eventually float out of the cave a changed man unsure of what I had just seen. At least that was one of my favorite stories I would put to the music as I meditated each night to the album only to be rudely interrupted by the click, click, click that alerted me to flip over the record (oh, is this music perfect for CD or what?). Unbeknownst to me at the time, I was listening to an album that is considered by many one of the finest moog, sequencer, and mellotron albums ever. It is a very powerful album. One of the greatest dynamic atmospheric pieces to ever be recorded. I will say that it took many weeks of listening to be truly moved by Rubycon. It is not an easy album to warm up to if one is unfamiliar with electronic/ambient music (which would've been my case at that time). Suddenly I wasn't an ordinary high school weenie anymore.

---1/8/24

I wasn't really yet keen on opening up myself so much 22 years ago, and yet I somehow did anyway. Today we live in an online world and expression of emotions is accepted (for better or worse). On last night's listen, I was transported back to being a 17 year old young man. I had new stories that the music brought out of me - ones that would be more relevant for a 59 year veteran of this world, and who has been truly blessed up to this point. I don't think I have closed my eyes and listened to Rubycon in this manner since that Gnosis review. And I thought my whole body was going to explode - emotions I haven't felt in years came out to the fore. I wanted to give the album a +1, +2, +3. But I can't do that. It's already a Gnosis 15. Nowhere to go. When I find myself close to death (hate to think about these things but it's reality), I should hear this album again. I wonder how it will go.

Ownership: 

1982 Virgin Japan (LP). Gatefold with obi. Acquired in 2000.

2019 Virgin (CD). In Search of Hades box. There is a 15 minute additional (or alternate) sequence included that I will revisit the next time I open the box. Acquired in 2019.

First copy: 1981 Virgin International (LP). Gatefold. Acquired in 1982.

12//82; 7/3/01 (review); 4/12/20; 1/8/24 (update)

Poland (1984)

As you may have noted, in the last couple of years I've completely immersed myself in early 1980s Tangerine Dream, largely propelled by the Pilots of Purple Twilight box set, but other sources as well ("bootleg" sets / boxes, etc...). One album from that era I haven't spoke about is Poland. As told on the other entries, by 1984 I was a complete fanatic for all things Tangerine Dream, and I purchased the LP on the spot, no questions asked. Much was made at the time of Tangerine Dream and Klaus Schulze having the ability to perform inside the Iron Curtain. And each left us a double LP document of their adventures in Poland. My interest level in this era of T. Dream was beginning to wane though. The music was starting to run together and the improvisational aspect of the band was gone completely. So over time I eventually parted with Poland, though I did keep Schulze's output which I own to this day.

A little over 10 years ago, Cherry Red's "Krautrock" label Reactive reissued the same album with full historical documentation. It had been at least 20 years since I last heard it - or probably anything from that era of Tangerine Dream to be honest - and so it sounded fresh to my ears. Now a decade later from that incident and I'm back to my early college self in terms of having a full Tangerine Dream musical perspective. And yes, one can hear many familiar and recurring themes throughout these discs. Musically it's fairly repetitive of what they had been up to since 1981 / 82, and there's a bit of "going through the motions". The liner notes explain the immense difficulty in performing these concerts, so it's all understandable. From an historical perspective one has to admire the sheer will it took to pioneer a path many would take later. From a musical perspective, this album doesn't offer too much in terms of original creativity with 'Horizon' providing the most contrast. Schulze did much better on this front. No matter, given my own personal history with the era and Eastern Europe (only a few years later), this one will continue to have a space on the shelf.

Ownership: 1984 Jive Electro UK (2xLP) Gatefold. Reacquired in 2025. First purchased in 1984.

1984; 5/11/12; 9/8/23 (review)

Green Desert (1973 / 1986)

When Green Desert came out, it was an exciting revelation. A full archival album of Tangerine Dream promising a return to the psychedelic roots of Electronic Meditation and Ultima Thule, a sound I had become obsessed with by 1986. And that's true to a certain extent. The title track definitely passes for 1973, and it's great to hear Froese jamming on the electric guitar while Franke is back behind the drum kit. I'm sure this track has been embellished, but for the most part, it's the sound of underground Tangerine Dream before the sequencers took over. The other side sounds like White Eagle. There's nothing 70s about it. Which isn't necessarily a bad thing, but it's curious the way they presented the album. I enjoy it throughout, but it would have been so much better had they dug up another psychedelic piece for side 2.

As for the CD read the Pink Floyd - Meddle post. OK, truth be told, I bought this the same day as that CD. So arguably this was first as well. I was pretty motivated to get this one on CD instead of the LP (which I never did bother to get, and probably never will). I think at 35 years of ownership, we can safely assume it will go the distance with me. The CD itself offers nothing else, not even what a CD is and how to play and care for it. lol. Interesting to note, that for all my efforts and cash to buy that CD player, I remained mostly an LP-only guy until about 1991 / 92. CDs were just too expensive to sustain, and even used CDs cost more than new LPs. But eventually I got my money's worth, and that old warhorse lasted until 2002.

Ownership: 1986 Relativity Theory (CD). Acquired in 1986.

7//86; 8/28/21 (review)

Hyperborea (1983)

Hyperborea was the second "new" studio album from Tangerine Dream to be released after my first  discovering of the group and buying up their back catalog. By this time I had entered college, and without a doubt, Tangerine Dream would be the band I proudly stated were my "favorite". Just as White Eagle was received warmly upon initial impact, so was Hyperborea. Perhaps even a bit better in my mind at the time. It seemed a bit more adventurous, though unlike anything else in their catalog. Objectively speaking, I would still make those claims. Subjectively, the album hasn't moved upward like White Eagle has. Some of that can be chalked up to the time and place. But honestly the music is getting colder and more mechanical by each release. They certainly hadn't yet gone on auto pilot, but that was to come a mere two years later. The clues were here already. No question that I would still recommend the album on its own, but I would acquire everything in front of it first.

As for the bonus tracks on the CD, they are taken from the Risky Business soundtrack. This movie was released during the late summer of 1983 right before I was to enter college. It's one of those "my generation" movies, though in retrospect, it's pretty dumb. I still like it. But for me, what was even cooler, is that Tangerine Dream's music was all over it. And at the best times during the movie. Some of the music is taken from Force Majeure and Exit, while just that much more is original material of a similar nature to Tangram / Thief. With this, and Nicolas Cage wearing a Tangerine Dream T-Shirt in Valley Girl, it felt like a form of acceptance. Old times. 

Ownership: 

1983 Virgin (LP). Reacquired in 2022. First purchased in 1983.

2020 Virgin (CD). Part of the Pilots of Purple Twilight box set. Acquired in 2020.

10//83; 1/22/21 (review)

Logos (1982)

Logos represents for me the best album of the post Baumann years. Whereas Exit and Thief were soundtracks to my late high school years, Logos became the background music for my early college days of 1983 and 84. In looking at Discogs, the album had already been out some 10 months before I acquired it, as its distribution back then was pretty light in the area I lived in. Musically it's unlike the other albums of the era. I'm not reminded of Tangram, Exit, Thief, or White Eagle while listening, though clearly it's well within their 80s style and instrumentation. That is to say there's no mistaking Logos as a throwback to the Stratosfear era. I find the music highly melodic and the sequences very inventive. There's an innocence surrounding Logos, a feeling one doesn't usually walk away with when talking Tangerine Dream. Logos stands tall within TD's discography, and is the one post 70s album (IMO of course) that challenges their best work from their formative decade.

Ownership: 

1982 Virgin Germany (LP). Reacquired in 2021. First purchased in 1983.

2020 Virgin (CD). Part of the Pilots of Purple Twilight box set. There are no bonus tracks for the album proper, but the entire concert is also in the box on two discs. Acquired in 2020.

9/4/83; 7/3/01; 9/18/19; 1/8/21 (review)

Tangram (1980)

If I were to review my personal history with Tangerine Dream, and all the albums acquired between 1970 and 1983, Tangram would be the most neglected. Even though it was the studio album prior to Exit (where I started the journey), I ended up picking this one up almost last in that bunch (Alpha Centauri and Atem were the last two). And a used copy at that, when all others were new. In the 90s when I went on a commodity LP replacement program, Tangram was also last. No idea why, since it was the LP in the least great condition. Unlike the first three albums I've covered from this box set - namely White Eagle, Exit, and Thief - I have no personal soundtrack history with Tangram. It was "just another" Tangerine Dream album to me.

The odd thing about the opening paragraph is that I hold - and have always held - Tangram in very high esteem. This of course is the album where Johannes Schmoelling entered stage left. His contribution to the band cannot be understated. He had classical training that brought both a discipline and a keen sense of melody to Tangerine Dream. Right from the opening bouncy synth notes onto the beautiful piano segment, Tangram was clearly a departure from the past. Elements of Force Majeure remained, but mostly Tangerine Dream was busy defining their role for the 1980s. Highlights include a devastating fiery guitar and sequencer mix on Side 1. And on Side 2, there are what I consider *two* of the finest sequences of Tangerine Dream's entire recorded career. Now that's quite a bold statement right there. It's a nonstop ride of goodness. Tangram is one of the few Tangerine Dream albums I can evaluate objectively, and I certainly consider it in the first division of their first 16 years of existence. It's really too bad that Froese put away the guitar after this (and the subsequent Thief). He was cooking with gas at this point in his career.

Ownership: 

1980 Virgin UK (LP). Printed insert. Acquired in 2021.

2020 Virgin (CD). Part of the Pilots of Purple Twilight box set. Acquired in 2020.

First copy: 1981 Virgin International (LP). Acquired in 1984.

9//84; 1/5/21 (review)

Thief (1981)

As noted in the Exit review, Thief was actually the first Tangerine Dream I'd ever heard. The album was being played in the background of a pickup football game (?!) while I was still a junior in high school (late 1981). And, as it turns out, it was also one of the earliest Tangerine Dream albums for me to purchase.  And I've owned a physical copy ever since. Unlike most Tangerine Dream albums, Thief is one I haven't heard since I did a retrospective for Gnosis some 19 years ago. And like most of these early 80s albums from TD, Thief represents a personal soundtrack - a nostalgic remembrance of an exciting exploratory time for me, especially regarding music.

While absorbing Thief this go round, the first thing I noticed is just how much guitar is present, an instrument largely missing from Exit and beyond. 'Dr. Destructo' packs a wallop whereas 'Diamond Diary' is Tangerine Dream at their sequencer best. This was by far the most direct Tangerine Dream album released to date. Like Exit, this is an album that has moved into the excellent rating category over the years. Whether that's due to personal experience or a warm objective evaluation, I cannot say. But my life is intrinsically linked to this album.

The US LP pressing contains one different track performed by a different artist ('Confrontation'). The box set, naturally enough, left this piece off since it wasn't by Tangerine Dream. 

The French LP also has a unique track called 'Metascore'.

The bonus track on the CD is a slightly extended version of  'Dr. Destructo', so nothing to really get excited about. 

Ownership: 

1981 Elektra (LP). Reacquired in 2022. First purchased in 1983.

1981 Virgin France (LP). Acquired in 2025.

2020 Virgin (CD) Part of the Pilots of Purple Twilight box set. Acquired in 2020.

1983; 12/30/20 (review); 4/17/22 (update)

White Eagle (1982)

If Exit was my first discovery, and Rubycon was the epiphany, then White Eagle was Tangerine Dream's first new album after I had become a committed fan. I was satisfied with it - but my bar would have been pretty low at that point for anything T. Dream. It didn't take a palm reader to see this was the direction the band were headed. More beats, more melody, more early 80s. Since that day, I've always maintained a physical copy of the album, even though it remained in the 4th quadrant of their releases (pardon my Gartner reference). Over the years, I find myself warming more and more to it. It's probably nostalgia for the end-of-high-school years and all that surrounded that experience: The discovery of new things, the future was bright, and the time was exciting. And while White Eagle was never one of my personal soundtracks, every time I hear it, images of my past from that era flash by. 'Mojave Plan' moves through multiple segments with ease, and 'Convention of the 24' ups the ante on sophisticated sequencing while providing a haunting atmosphere. In reflection, it's the melodies that win the day. Not sure White Eagle will ever crawl past most of the albums released prior to it, but it continues to gain respect in my world anyway.

There are six bonus tracks on the CD. The first four come from an EP entitled Das Mädchen auf der Treppe. I owned this vinyl back in the day (I bought everything T Dream that I could find). The music is very similar to White Eagle and no less satisfying. The other two tracks (new to me) 'Daydream' / 'Moorland' were separately released as a single, and no surprise, is also similar to White Eagle.

I'll use this entry for my discussion on the Pilots of Purple Twilight box set. Of course it is the sequel to In Search of Hades, a release that I consider the single best CD set in my entire collection. Pilots of Purple Twilight is likely to be second. With each box set, I didn't necessarily start where expected. With In Search of Hades, I first listened to Cyclone. And with Pilots of Purple Twilight it was, ta dah, White Eagle. From a sound perspective, when I first heard Cyclone, I about melted - it was so much better than any other version I'd heard. With White Eagle, I don't think there is much room for improvement, as by the early 80s Tangerine Dream were already state of the art. I expect that will be a consistent theme throughout listening to Pilots of Purple Twilight. All the same, there are copious amounts of unreleased and hard to find (or assemble might be the more accurate term) bonus tracks. This coupled with - once again - an incredible hardbound book chock full of data, makes this box set indispensable. Unlike In Search of Hades, finding Pilots of Purple Twilight on Day 1 of release, proved to be easy. 

Ownership: 

1982 Virgin UK (LP). Reacquired in 2015. First purchased in 1983.

2020 Virgin (CD). Part of the Pilots of Purple Twilight box set. Acquired in 2020.

1983; 12/12/20 (review)

Force Majeure (1979)

Like all Tangerine Dream albums, Force Majeure was yet another discovery during my high school years of the early 80s. This is the album I play for folks who state they don't like Tangerine Dream - or electronic music in general. The title track and 'Cloudburst Flight' gives us a window into what Tangerine Dream would have sounded like had they chosen progressive rock as a genre to go forward with. Relatively conventional instrumental compositions, with electric guitar and real drums. The track that traditional TD fans gravitate toward is the closer 'Thru Metamorphic Rocks'. I'm not as keen on this one myself. The premise is excellent, but it's rather monotonous after some minutes of the same thing.

The bonus track on the CD is 'Chimes and Chains', originally released on the '70 to '80 box set.

Ownership: 

1979 Virgin UK (LP). Clear vinyl version. Acquired in 2020.

2019 Virgin (CD). Part of the In Search of Hades box set. Acquired in 2019.

First copy: 1981 Virgin International (LP). Acquired in 1983.

1983; 7/3/01 (review); 4/19/20 (update)

Encore (1977)

I have a long history with this album, as I do with all the pre-1987 T. Dream works. Books have been written about these albums, and their original source, so I won't add much to that. The versions here of 'Cherokee Lane' and 'Monolight' are generally considered the prototypes for what they played on tour back then. Later archival live releases bear that out. And honestly, they represent the least interesting and predictable material here (though still great I must say). 'Coldwater Canyon' is the "Edgar Froese goes wild on the guitar piece", though it's rather tame compared to some of the Electronic Meditation styled tracks that have since been released from this time frame. And 'Desert Dream' is their more mellow drift-off track. This sadly would be the end of the Baumann era, and every album that came from this trio was brilliant. Every damn one of them.

As for the bonus tracks on the CD, one doesn't usually think of Tangerine Dream as a singles band, but they had their fair share of 45's, including the great 'Ultima Thule' work from their early days. Anyway, 'Encore' is a nice little ditty, typical of the less serious side of the band. 'Hobo March' later found itself on Edgar Froese's Ages album (with a different title), which came as a surprise to me. 

Ownership: 

1977 Virgin USA (2xLP). Gatefold. Acquired in 2019.

2019 Virgin (CD). Part of the In Search of Hades box set. Acquired in 2019.

First copy: 1981 Virgin Germany (2xLP). Gatefold. Acquired in 1983.

1983; 4/16/20 (review)

Exit (1981)

Exit was the Entrance for me. While still in high school in 1981, I was first introduced to Tangerine Dream by a band mate. Exit was the newest album at the time, and off I went to purchase the LP. The music was very foreign to me back then, and I flipped that record over hundreds of times to let it penetrate. Something I think we all probably should do more today, but who has the time? The haunting narration of 'Kiew Mission'; the choppy synthesizers on 'Pilots of Purple Twilights'; the pounding 'Choronzon' (my initial favorite from the album); and finally the moody and ultimately most representative Tangerine Dream track for the era: 'Remote Viewing' (my current favorite). I'm probably the world's biggest fan of Exit, an album not highly revered by fans of the group. But it's inescapable for me, given my history with both the band and this album. The next Tangerine Dream album I bought? Rubycon. My world would never be the same again. And here we are some 37 years later. Yea you're damn right Exit was important to my musical appreciation development!

I just remembered that I'd written a review of Exit for Gnosis way back in the summer of 2001 (has it really been 18 years? A lifetime ago). As you can see, a lot of overlap, but perhaps more detailed:

---7/3/21

It was 1981, the Fall semester of my junior year in high school. We were about to start playing a pickup football game when I heard from the car cassette a very interesting music. The owner, who I played in jazz band with, said "Oh, that's Tangerine Dream. Pretty weird stuff, eh? I'm just starting to get into them." He was playing the soundtrack to Thief. Curious, the next day I headed over to my local Sound Warehouse and discovered a band with many, MANY titles. Where do I start? Logic dictated I started with the latest release (at least of the ones they had). And $5.99 later I was home with Exit.

Exit proved to be difficult listening at first as I wasn't used to this sort of atmospheric music. Like most people, the music that I had heard was much more "in-yer-face". Even bands like ELP and Yes are that way. Tangerine Dream is a different kind of listening experience. So naturally on the first few listens, upbeat tracks like 'Choronzon', 'Pilots of Purple Twilight', and 'Network 23' had the most impact. 'Choronzon' was even being used as background for a local newscast's advertisement! But it was the longer, curious compositions such as 'Kiew Mission' with it's heavily accented Russian female narration (2019 edit: performed by an unknown German actress) with bizarre electronics - and 'Remote Viewing' which included odd melodies and sequencers that ended up being the kind of music I wanted to explore further. And time was something I had. There was no cable television and no internet - and certainly no money. So when an album was purchased it was pretty much guaranteed quite a few spins on the turntable, especially something new like Tangerine Dream!

Ownership: 

1981 Elektra (LP). Reacquired in 2021. First purchased in 1982.

2020 Virgin (CD). Part of the Pilots of Purple Twilight box set. Acquired in 2019.

10//82; 7/3/01 (review); 7/21/19 (update)

Cyclone (1978)

Probably the most misunderstood of the 70s Tangerine Dream albums. On RYM, it is the lowest ranking album from Alpha Centauri through Poland, before it tops Le Parc (incidentally I consider Electronic Meditation to be a complete Krautrock masterpiece, but it certainly makes sense it rates low, especially among more traditional Tangerine Dream fans).

And why is that? Well, the vocals of course. Steve Jolliffe was not a new walk-on to the band. His association with Edgar Froese goes all the way back to 1969, before Franke, Baumann, and the rest of them. He's an Englishman, so it isn't a foreign accent issue. Truth is, and I agree with this too, they aren't the best vocals in the world. Anyone who has a taste for Krautrock, will already know that vocals aren't the ace in the hole for the movement. Once your ears have adjusted to it, Jolliffe isn't any worse than the others.

With that out of the way, let's discuss the reality here. Only Side 1 has vocals, and they do not dominate either song. It's just an anomaly that's all. But what Jolliffe does bring to the table, in addition to the expected raftful of keyboards, is a set of woodwinds. The flute in particular is an instrument that is much welcomed for the music of Tangerine Dream. I wish they had always employed one. Perhaps they should have asked Stephen Kaske (Mythos) to join permanently (though they'd really need him not to sing.).

Part 2 of this lineup is the addition of drummer Klaus Kruger. He was an active part of Froese's world in 1978 and 1979, before going solo in the Harald Grosskopf tradition. His drumming is absolutely perfect for music such as this, adding an urgency to the blazing sequencers.

As for the music, most of it is a continuation as to what they were performing on Stratosfear and Encore. Not a radical departure at all. And of course even detractors of the album will admit 'Madrigal Meridian' is one of Tangerine Dream's all-time classics. And at 20 minutes that should be enough alone - much less the great music on the first side. It's really a tragedy this lineup only lasted one album. Excellent.

There are two bonus tracks on the CD, both from the '70-'80 compilation. These are Peter Baumann and Edgar Froese solo tracks, and were only ever released on that album prior to this box set.

Ownership: 

1978 Virgin UK (LP). Gatefold. Acquired in 2015.

2019 Virgin. Part of the In Search of Hades box set. Acquired in 2019.

First copy: 1981 Virgin International (LP). Acquired in 1983.

In Search of Hades will have its own feature. But I must say this is by far and away the best version of this album I've heard. 

1983; 8/4/19 (review)

---

Other albums I own from this era: Zeit; Atem; Phaedra; Ricochet; Stratosfear; Sorcerer; Pergamon; Le Parc; Underwater Sunlight

Previously owned: Wavelength; Firestarter; Tyger; Livemiles

5/9/19 (new entry)