10/29/2023 0 Comments Tangerine dream rym![]() ![]() ![]() At the very least, you got to see KE create sounds on stage and then use the organ alongside if need be, to illustrate his music, and that was a sort of marriage of the "BEFORE" with the "AFTER" in a funny way, although I never thought that KE was doing it to show off anything, though his having fun playing backwards or upside down is fun to see. That's an important distinction, and the main reason why RW is not one of my favorites, he's simply taking "another score" and playing it on a different synthesizer with a different sound and settings. the "BEFORE" and the "AFTER", because a lot of Brian Eno experimentations belong in the "BEFORE" along with the pioneers of electronic music, and then TD, KS, MJ and even Vangelis, end up belonging to "AFTER" when the synthesizer was now a replacement for many instruments in the orchestra instead of an instrument in its own right. There is a lot of music that does this, and I would love to see this broken up into 2 areas. (Franco) Battiato - Sulle corde di Aries (1973) Oneohtrix Point Never - Garden of Delete (2015) Terry Riley - A Rainbow in Curved Air (1969) Manuel Göttsching - Inventions for Electric Guitar (1975) Oneohtrix Point Never - R Plus Seven (2013) Mort Garson - Mother Earth's Plantasia (1976) Raum feels a little bit more like a transitional work than the unexpectedly solid Quantum Gate, but that album seemed like more of an overt revisit of the band's classic sound, while Raum finds them taking more chances and exploring fresh ideas.RYM's top all time Progressive Electronic As Tangerine Dream's influence seemed more prominent throughout electronic music during the 2010s than it had since the group's heyday, the existing lineup produced the band's most inspired work in ages. The rhythmic pulsations and arpeggios build up without fully locking into a beat pattern, and after it feels like the band is pausing to avoid the risk of burnout, wisps of synth and violin textures begin to seep in, and the track momentarily returns to full bloom. "Raum" is the album's other epic, and it's somewhere in between '90s ambient techno and space rock, with lush synth pads accompanied by distorted leads that come close to sounding like soaring guitars. ![]() "Along the Canal" is filled with jittery arpeggios and flute-like synth trails, and like the band's mid-'70s work, it feels like it's being shaped by human hands in real time rather than meticulously programmed. While moments like this are a thrilling blend of old and new, one of the record's best tracks is much more in line with vintage Tangerine Dream. The horizon clears for a stunning burst of light, which gives way to the album's sweetest, most hopeful melodies. Raum's centerpiece is the 19-minute "In 256 Zeichen." Following a nebulous intro, Yamane's mesmerizing violin loops emerge, and they become swept away in a current of percolating synths and intricate beats. Notably absent is Ulrich Schnauss, who joined the band in 2014, yet curiously enough, the album often sounds more like his own work than Tangerine Dream's - glimmering opener "Continuum" and the downtempo crawl "You're Always on Time" are both easy to mistake for Schnauss, or contemporaries such as Tycho. ![]() For this recording, Thorsten Quaeschning, Hoshiko Yamane, and recent addition Paul Frick (of Brandt Brauer Frick) were given access to Froese's archive of Cubase arrangements and tape recordings dating back to the 1970s, so like their previous studio album, 2017's Quantum Gate, he's still present in spirit. Raum is Tangerine Dream's second studio full-length since founder Edgar Froese died in 2015, though the group has additionally released several live albums and EPs. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |