Tag: Tangerine Dream (Page 1 of 5)

THE ELECTRONIC LEGACY OF 1979

While 1979 saw a post-punk revolution with new wave and ska emerge as energetic expressions of youth with the likes of JOY DIVISION, XTC, THE SPECIALS and MADNESS, maturer acts with power pop sensibilities such as BLONDIE and THE POLICE dominated the UK charts.

But the synthesizer had become a new tool of creativity for those who weren’t interested in learning chords on a guitar and preferred to use one finger, thanks to its new found affordability with refined technology from Japan. While electronics had been present in disco, progressive rock and esoteric avant garde forms, following seminal records in 1978 such as ‘Warm Leatherette’ b/w ‘TVOD’ by THE NORMAL and ‘Being Boiled’ by THE HUMAN LEAGUE, a new DIY artpop form was developing that would eventually take on KRAFTWERK at their own game.

Among those fledgling electronic acts who released their debut singles in 1979 on independent labels were OMD with ‘Electricity’ on Factory Records and FAD GADGET with ‘Back To Nature’ on Mute Records. Meanwhile on another independent Rough Trade, CABARET VOLTAIRE achieved a wider breakthrough with ‘Nag Nag Nag’, the standalone single accompanying their first album ‘Mix-Up’.

Having experimented with synths on ‘Low’ released in 1977, David Bowie had gone to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”. Alas it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’. However, just a few weeks earlier, SPARKS had taken the Giorgio Moroder produced ‘No1 Song In Heaven’ into the UK Top20. But however history is perceived, a revolution had begun that would lead to the dawn of “synthpop” in 1980.

Here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1979. They are listed in alphabetical order with a restriction of one album per artist moniker, meaning Gary Numan and Edgar Froese appear twice…


ASHRA Correlations

As ASHRA, Manuel Göttsching released what many consider to be his first ambient masterpiece ‘New Age Of Earth’. On 1978’s ‘Blackouts’, he expanded the line-up to include drumming synthesist Harald Grosskopf and guitarist Lutz Ulbrich which continued on ‘Correlations’. Despite being more rock-oriented, it featured sequenced electronics with ‘Club Cannibal’ almost entering Jean-Michel Jarre territory.

‘Correlations’ is still available via Spalax Music

https://www.electricityclub.co.uk/manuel-gottsching-1952-2022/


PETER BAUMANN Trans Harmonic Nights

Although he had released ‘Romance ‘76’ while still a member of TANGERINE DREAM, Peter Baumann’s first solo album after departing the band was something of an interim record before venturing into electronic pop with ‘Repeat Repeat’. Mostly shorter instrumental compositions using mysterious melodies and occasional vocoder textures, ‘Trans Harmonic Nights’ remains something of an underrated electronic gem.

‘Trans Harmonic Nights’ is still available via Cherry Red Records

https://www.cherryred.co.uk/product/trans-harmonic-nights-remastered-edition/


EDGAR FROESE Stuntman

With TANGERINE DREAM taking a misstep with ‘Cyclone’ and perhaps prompted by the success of Jean-Michel Jarre’s electronic symphonies, on his fifth solo album ‘Stuntman’, Edgar Froese was at his most accessible with strong synth melodies, particularly on the title track. Elsewhere, new ages resonances were starting to develop while on ‘Drunk Mozart In The Desert’, there was atmospherics coupled with a rhythmic bounce.

‘Stuntman’ is still available via Virgin Records

https://www.edgarfroese.de/


GINA X PERFORMANCE Nice Mover

Produced and co-written by Zeus B Held, the debut album by androgynous art history student Gina Kikoine featured an array of ARP and Moog synths to signal the birth of a new European Underground. Cult club favourite ‘No GDM’ was written in honour of the “great dark man” Quentin Crisp while other highlights included the detached vocoder assisted robotic soul of the title song and the feisty gender statement ‘Be A Boy’.

Available on the album ‘Nice Mover + Voyeur’ via Les Disques du Crepuscule

http://www.ltmrecordings.com/gina_x.html


GIORGIO E=MC²

With Giorgio Moroder acquiring Roland’s new System 700 and an MC8 Micro-composer to control it, ‘E=MC2’ was touted as the first “electronic live-to-digital” album. This allowed for an uptempo funkiness previously unheard on sequencer based music to come into play. With the electronically treated vocals and euphoric energy of the marvellous ‘What A Night’, the sound of DAFT PUNK was inadvertently being invented!

‘E=MC²’ is still available via Repertoire Records

https://www.giorgiomoroder.com/


STEVE HILLAGE Rainbow Dome Musick

As a member of GONG and solo artist, Steve Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival For Mind-Body-Spirit’ at London’s Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ is still available via Virgin Records

http://www.stevehillage.com/


THE HUMAN LEAGUE Reproduction

With a manifesto of “synthesizers and vocals only”, the debut album by THE HUMAN LEAGUE included ‘Empire State Human’, ‘Circus Of Death’, ‘Almost Medieval’, ‘Blind Youth’ and a stark cover of ‘You’ve Lost That Loving Feeling’. Produced by Colin Thurston, while ‘Reproduction’ was not a commercial success, Philip Oakey, Ian Craig Marsh and Martyn Ware gained valuable experience that would progress their careers.

‘Reproduction’ is still available via Virgin Records

https://www.electricityclub.co.uk/martyn-ware-the-reproduction-travelogue-interview/


JAPAN Quiet Life

Although considered a 1980 album, the third JAPAN long player was actually released late 1979 in Japan, Canada, Holland and Germany. Featuring the sequencer-driven title song as well as the rockier ‘Halloween’ and a cover of THE VELVET UNDERGROUND’s ‘All Tomorrow’s Parties’, despite Roxy rip-off accusations, it was a major artistic step forward as a quality timeless work embracing synths, muzak and orchestrations.

‘Quiet Life’ is still available via BMG

https://www.electricityclub.co.uk/rob-dean-the-quiet-life-interview/


GARY NUMAN The Pleasure Principle

Devoid of guitar but using a flesh-and-blood rhythm section, Gary Numan realised his dream of producing a new form, machine rock. Synths were fed through guitar effects pedals to add a more sinister metallic tone and while there was sombre isolation communicated on all the songs, there was a catchy melodic sensibility to songs such as ‘Cars’, ‘Metal’, ‘Films’, ‘Engineers’ and ‘M.E.’ which turned Numan into the first synthesizer pop star.

‘The Pleasure Principle’ is still available via Beggars Banquet

https://garynuman.com/


ROBERT RENTAL & THOMAS LEER The Bridge

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties using early affordable synths such as the EDP Wasp. Comprising of a side of five songs and a side with four ambient instrumentals, ‘Day Breaks, Night Heals’ and ‘Monochrome Days’ both showcased an avant pop sensibility. Robert Rental sadly passed away in 2000.

‘The Bridge’ is still available via Mute Artists

https://www.electricityclub.co.uk/story-of-thomas-leer-robert-rental/


ROEDELIUS Selbstportrait

Best known as a member of CLUSTER with the late Dieter Moebius and working with Brian Eno on two albums, ‘Selbstportrait’ was Hans-Joachim Roedelius’ third solo long player. This was a “self-portrait” reflecting the gentle introspective ambience of the record. Something of a sister record to the 1977’s marvellous ‘Sowiesoso’, it was more accessible than CLUSTER’s own structurally minimal ‘Grosses Wasser’ also issued in 1979.

‘Selbstportrait’ is still available via Bureau B

https://www.roedelius.com/


KLAUS SCHULZE Dune

After the ambitious double opus ‘X’ which also incorporated strings in a record comprising of “Six Musical Biographies” in honour of figures including philosopher Friedrich Nietzsche and ‘Dune’ author Frank Herbert, Klaus Schulze conceived an actual album called ‘Dune’. Something of a diversion, ‘Shadows of Ignorance’ featured the eccentric poetry of Arthur Brown while the experimental ambient title track made use of cello.

‘Dune’ is still available via Bureau B

https://klaus-schulze.com/


SIMPLE MINDS Real To Real Cacophony

Stronger than their debut LP ‘Life In A Day’, SIMPLE MINDS started experimenting with more electronics and a very European austere on its swift follow-up ‘Real To Real Cacophony’ with the title song presenting their take on KRAFTWERK’s ‘Radio-Activity’. Underground and pulsating through on ‘Changeling’, that breakthrough single and ‘Premonition’ really were a sign of things to come in their dark avant disco templates.

‘Real To Real Cacophony’ is still available via Virgin Records

https://www.simpleminds.com/


SPARKS No1 In Heaven

Following the inspirational success of ‘I Feel Love’, SPARKS were put in contact with its producer Giorgio Moroder who had aspirations to work with a band. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the pulsing electronic disco template. ‘The No1 Song In Heaven’ hit the UK Top 20 a few months before ‘Are Friends Electric?’ while the follow-up ‘Beat The Clock’ got into the Top 10.

‘No1 In Heaven’ is still available via Lil Beethoven Records

http://www.allsparks.com/


TANGERINE DREAM Force Majeure

Still feeling the void left by the departure of Pete Baumann, following the vocal experiment of ‘Cyclone’, Edgar Froese and Christopher Franke opted to retain drummer in Klaus Krüger. While there was also increased guitar and piano usage, the title song and ‘Thru Metamorphic Rocks’ utilised pulsing sequencer passages to signal the future Hollywood direction that TANGERINE DREAM would head in.

‘Force Majeure’ is still available via Virgin Records

https://www.tangerinedreammusic.com/


TELEX Looking For Saint Tropez

The ethos of Belgian trio TELEX was “making something really European, different from rock, without guitar”. ‘Looking For Saint Tropez’ contained ‘Moscow Diskow’ which took the Trans-Siberian Express to Moscow by adding a funkier groove. Also included were funereal robotic covers of ‘Rock Around The Clock’ which was a UK Top40 hit and Plastic Bertrand’s ‘Ça Plane Pour Moi’ as well as their deadpan debut single ‘Twist A Saint Tropez’.

‘Looking For Saint Tropez’ is still available via Mute Artists

https://www.facebook.com/ThisIsTelex


THROBBING GRISTLE 20 Jazz Funk Greats

The title and the group photo on Beachy Head were tongue-in-cheek statements but THROBBING GRISTLE were still deathly uncompromising as shown by ‘Persuasion’. However, there were glints of light with the glorious cascading instrumental ‘Walkabout’ and mutant disco lento of ‘Hot On The Heels Of Love’ as Cosey Fanni Tutti’s whispered vocals competed with synthetic whip-crack and drill noises!

‘20 Jazz Funk Greats’ is still available via Mute Artists

https://www.throbbing-gristle.com/


TUBEWAY ARMY Replicas

Whereas the TUBEWAY ARMY debut featured punk tunes with added synth, ‘Replicas’ would see the Philip K Dick inspired dystopian vision of Gary Numan paired with appropriate electronic sounds as the main melodic component on the now classic UK No1 ‘Are Friends Electric?’. But the earlier singles ‘Down In The Park’ and the lengthy instrumental ‘I Nearly Married A Human’ pointed to a future guitar-free follow-up.

‘Replicas’ is still available via Beggars Banquet

https://www.electricityclub.co.uk/beginners-guide-gary-numan/


VANGELIS China

Although VANGELIS had never been to China at the time the album was recorded, he had developed a passionate fascination for its people, culture and vast landscape, noting a connection between ethnic Greek and Chinese music. Using traditional elements alongside his synthesizers, the centrepieces were the majestic ‘Chung Kuo’ and the meditative pentatonic piece ‘The Tao Of Love’. ‘China’ remains an underrated record in his canon.

‘China’ is still available via Universal Music

https://elsew.com/


YELLOW MAGIC ORCHESTRA Solid State Survivor

The second and best YELLOW MAGIC ORCHESTRA album featured an embarrassment of riches.  It included the glorious Technopop of ‘Rydeen’, the mighty citypop of ‘Technopolis’, the moodier ‘Castalia’ and the Cossack romp of ‘Absolute Ego Dance’.  But it was the iconic ‘Behind The Mask’ originally composed for Seiko which was later covered by Greg Phillinganes, Eric Clapton and Michael Jackson.

‘Solid State Survivor’ is still available via Sony Music Direct

http://www.ymo.org/


Text by Chi Ming Lai
1 January 2024

THE ELECTRONIC LEGACY OF 1980

David Bowie had famously dropped in to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”.

But it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’ while just a few weeks earlier, SPARKS had been become willing conspirators with Giorgio Moroder on ‘The No1 Song In Heaven’ to effectively invent the synth duo.

Although it was the dawn of synth, 1980 was a transitional time when the synth was still the exception rather than the rule. The landscape was changing and the seed of what became the New Romantic movement had been planted.

Following the critical mauling he received for his 1979 album ‘Lodger’ but aware of his burgeoning influence in these futuristic sounds, Bowie headed down to The Blitz with RCA assistant and club regular Jacqueline Bucknell to cast extras including the late Steve Strange for the video of his new single ‘Ashes To Ashes’. It hit the top of UK charts and confirmed that once again “There’s old wave. There’s new wave. And there’s David Bowie…”

While Bowie’s was not an electronic artist in the way some of the next generation of artists had declared themselves, he couldn’t resist a sly dig at the acts that he’d inspired, using the line “same old thing in brand new drag” on the track ‘Teenage Wildlife’ from his next album ‘Scary Monsters’. And he was eventually to beat previous winner Gary Numan to the year’s ‘Best Male Singer’ accolade at the BBC endorsed British Rock & Pop Awards.

Belatedly looking back to 42 years ago before automatic stations came, here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1980. They are listed in alphabetical order with a restriction of one album per act.


BUGGLES The Age Of Plastic

Trevor Horn and Geoff Downes met while working with Tina Charles and her producer Biddu. Together they would go on to form BUGGLES and score a No1 with ‘Video Killed The Radio Star’. From the parent album ‘The Age Of Plastic’, ‘Astroboy’ developed on the duo’s sonic adventures while ‘The Plastic Age’ and ‘Clean Clean’ provided further if minor hits. Horn would go on become a top record producer.

‘The Age Of Plastic’ is still available via Island Records / Universal Music

https://twitter.com/Trevor_Horn_


DALEK I Compass Kum’Pas

Before OMD, the electronic duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass Kum’pas’ was released, OMD were having hits and keyboards man Dave Hughes had left to join their live band. Although Alan Gill’s vocals could polarise opinion, ‘Destiny’ was their most immediate song with a precise percussive appeal while ‘The World’ was eccentric and retro-futuristic.

‘Compass Kum’Pas’ is still available via Mercury Records

http://www.discogs.com/artist/Dalek+I


FAD GADGET Fireside Favourites

The success of the singles ‘Back To Nature’ and ‘Ricky’s Hand’ attracted a loyal fanbase, so a FAD GADGET album  ‘Fireside Favourites’ was eagerly anticipated. Developing on the minimal industrialism of the singles, the superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while offering his own brand of romantic macabre in the fear of the imminent nuclear apocalypse was the neo-title song ‘Fireside Favourite’.

‘Fireside Favourites’ is still available via Mute Records

https://mute.com/artists/fad-gadget


JOHN FOXX Metamatic

On the ULTRAVOX! eponymous debut,John Foxx announced “I want to be a machine”. On signing to Virgin Records as a solo artist, he virtually went the full hog with the seminal JG Ballard inspired ’Metamatic’. ‘Underpass’ and ‘No-One Driving’ were surprise hit singles that underlined the dystopian times while the fabulous ‘A New Kind Of Man’ and the deviant ‘He’s A Liquid’ were pure unadulterated Sci-Fi driven by the cold mechanics of a Roland Compurhythm.

‘Metamatic’ is still available via Metamatic Records

http://www.metamatic.com/


HARALD GROSSKOPF Synthesist

Having worked with Klaus Schulze and Manuel Göttsching, drummer turned keyboard player Harald Grosskopf took the plunge to go solo with the mind bending album ‘Synthesist’. A work comprising of eight instrumentals that blended a sonic tapestry of synthesizer soundscapes with drumming that provided colour as opposed to dominance, it musically followed in the exquisite tradition of his Berlin electronic friends.

‘Synthesist‘ is still available via by Bureau B

https://www.haraldgrosskopf.de/englisch/home.html


THE HUMAN LEAGUE Travelogue

With THE HUMAN LEAGUE learning lessons from their debut ‘Reproduction’, ‘Travelogue’ had more presence by creatively utilising the harsh screeching frequencies from overdriving their studio desk. ‘The Black Hit Of Space’ had its surreal Sci-Fi lyrics while ‘Dreams Of Leaving’ was a fantastically emotive slice of prog synth. There were glorious cover versions in ‘Only After Dark’ and ‘Gordon’s Gin’. While it was a breakthrough, all was not happy…

‘Travelogue’ is still available via Virgin Records

https://martynwareofficial.co.uk/


JAPAN Gentlemen Take Polaroids

Dropped by Ariola Hansa, JAPAN found a refuge at Virgin Records. The bossa nova driven ‘Swing’ explored exotic grooves while the haunting ‘Nightporter’ was the ultimate Erik Satie tribute. An interest in Japanese technopop produced the brilliant ‘Methods Of Dance’ and saw leader David Sylvian collaborate with YELLOW MAGIC ORCHESTRA’s Ryuichi Sakamoto on  ‘Taking Islands In Africa’.

‘Gentlemen Take Polaroids’ is still available via Virgin Records

http://www.nightporter.co.uk/


JOY DIVISION Closer

While not strictly an electronic album in full, half of ‘Closer’ was dominated by polyphonic synthesizers. Featuring an ARP Omni and an early version of Simmons drums, ‘Isolation’ was the most electronic track JOY DIVISION ever recorded. On the second side, ‘Heart & Soul’, ‘The Eternal’ and ‘Decades’ provided the solemn but beautiful Gothic backdrop producer by Martin Hannett for Ian Curtis’ elaborate musical suicide note.

‘Closer’ is still available via Rhino

http://joydivisionofficial.com/


LA DÜSSELDORF Individuellos

LA DÜSSELDORF were fronted by the late Klaus Dinger of NEU! There was a greater presence of electronics and the first half of ‘Individuellos’was dominated by variations on ‘Menschen’, a grand statement sounding like a blueprint for Phil Lynott’s ‘Yellow Pearl’. ‘Dampfriemen’ was a quirky slice of synth oompah with comedic chants and a kazoo section while the piano laden ‘Das Yvönnchen’ provided a beautiful closer.

‘Individuellos’ is still available via Warner Germany

https://www.discogs.com/artist/152540-La-Düsseldorf


NEW MUSIK From A To B

Time has shown that Tony Mansfield and NEW MUSIK with their strummed guitar alongside pretty synth melodies were underrated. Featuring the hits ‘Living By Numbers’, ‘This World Of Water’ and ‘Sanctuary’ as well as ‘On Islands’ which was later covered by CAMOUFLAGE, the band were dismissed as a novelty act due to the silly voices in their songs. Mansfield went on to produce A-HA, NAKED EYES and VICIOUS PINK.

‘From A To B’ is still available via Lemon Records

https://www.new-musik.co.uk/


GARY NUMAN Telekon

The negative side of fame got into the psyche of Gary Numan and his new songs took on a more personal downbeat nature away from the Sci-Fi dystopia of his previous work. ‘This Wreckage’ and ‘Please Push No More’ summed up the self-doubt but while ‘Remind Me To Smile’ could have been a single, ‘Telekon’ suffered from not having the hit single ‘We Are Glass’ and ‘I Die: You Die’ included on the original LP release.

‘Telekon’ is still available via Beggars Banquet

https://garynuman.com/


OMD Orchestral Manoeuvres In The Dark

OMD released two albums in 1980 but their self-titled debut captured Andy McCluskey and Paul Humphreys using the most basic equipment, the duo not even having a polyphonic synth at the time. With energetic post-punk synth numbers such as ‘Electricity’ and ‘Bunker Soldiers’, on the other side of the coin were ‘Almost’ and ‘The Messerschmitt Twins’. An early version of ‘Messages’ pointed to hit singles.

‘Orchestral Manoeuvres In The Dark’ is still available via Virgin Records

http://www.omd.uk.com/


ROBERT PALMER Clues

Although rooted in the blues via his previous band VINEGAR JOE, Robert Palmer took an interest in synths having become a fan of Gary Numan. That led to two collaborations including a version of ‘I Dream Of Wires’ released before Numan’s own recording and the Eastern flavoured ‘Found You Now’. The electronic centrepiece was the beautifully world weary ‘Johnny & Mary’ while ‘Looking for Clues’ added synthy art funk to the mix.

‘Clues’ is still available via Island Records / Universal Music

http://www.robertpalmer.com/


SILICON TEENS Music For Parties

Following the acclaim for THE NORMAL, Daniel Miller undertook a new project SILICON TEENS as a fictitious synth group where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’, ‘Let’s Dance’ and ‘Sweet Little Sixteen’ were enjoyably reinterpreted in a quirky synthpop style with Miller adding his deadpan monotone vocal. Frank Tovey aka FAD GADGET played the role of lead singer “Darryl” for videos and press.

‘Music For Parties’ is still available via Mute Records

https://mute.com/artists/silicon-teens


SIMPLE MINDS Empires & Dance

Tours opening for Gary Numan and Peter Gabriel took SIMPLE MINDS around Europe to experience Cold War tensions at closer hand. Their wired mood was captured on ‘Empires & Dance’. With its speedy Moroder-esque influence, ‘I Travel’ was a screeching futuristic frenzy and ‘Celebrate’ brought some industrial Schaffel to the party. ’30 Frames A Second’ took a trip down the autobahn but ‘Twist / Run / Repulsion’ messed with the headspace of listeners.

‘Empires & Dance’ is still available via Virgin Records

https://www.simpleminds.com/


SPARKS Terminal Jive

Following the Giorgio Moroder steered album ‘No1 In Heaven’, SPARKS were despatched by Virgin Records to record a swift follow-up. Although Moroder was still nominally at the helm, Harold Faltermeyer took the majority of production duties on ‘Terminal Jive’. ‘Rock ‘N’ Roll People In A Disco World’ seemed to reflect the confused direction but ‘When I’m With You’ was a massive hit single in France, leading to the Mael Brothers’ relocation.

‘Terminal Jive’ is still available via Repertoire Records

http://allsparks.com


TANGERINE DREAM Tangram

After experiments with vocals on ‘Cyclone’ and live drums on ‘Force Majeure’, with the recruitment on keyboards with Johannes Schmoelling to fill the difficult to fill void left by the departure of Peter Baumann, Edgar Froese and Christopher Franke got back on track, combining a more immediate sequencer drive with the melodic New Age resonances on the two part ‘Tangram’ set that would characterise TANGERINE DREAM’s later work.

‘Tangram’ is still available via Virgin Records

https://tangerinedreammusic.com/


TELEX Neurovision

The second TELEX album ‘Neurovision’ continued with the trio’s tradition of deadpan electronic covers and a gloriously metronomic take on ‘Dance To The Music’ showcased their penchant for mischievous subversion. But this mischief came to its head with their lampooning self-composed number ‘Euro-Vision’, a bouncy electropop tune which they actually entered for 1980 Eurovision Song Contest, coming seventeenth!

‘Neurovision’ is still available via Mute Artists

https://mutebank.co.uk/collections/telex


ULTRAVOX Vienna

Following the first VISAGE sessions, Midge Ure was invited to join Billy Currie, Chris Cross and Warren Cann in ULTRAVOX. Providing a sonic continuity from the John Foxx-led era was producer Conny Plank while the robotic spy story ‘Mr X’ voiced by Cann provided another link. Opening with the mighty instrumental ‘Astradyne’ and closing with the synthesized heavy metal of ‘All Stood Still’, the ‘Vienna’ album was a triumph.

‘Vienna’ is still available via Chrysalis Records

http://www.ultravox.org.uk/


VISAGE Visage

Formed as a reaction to the shortage of new electronic dance music to play at The Blitz Club, ex-RICH KIDS members Midge Ure and Rusty Egan recruited its figurehead Steve Strange to front the project under the name of VISAGE. Billy Currie, Dave Formula, John McGeoch and Barry Adamson joined later and captured a synthesized European romanticism that boasted the German No1 ‘Fade To Grey’ as well as two other hits in ‘Mind Of A Toy’ and the eponymous title track.

‘Visage’ is still available via Rubellan Remasters

https://www.therealvisage.com/


Text by Chi Ming Lai
29 December 2023

MUSIK MUSIC MUSIQUE 2.0 1981 | The Rise Of Synth Pop

1981 is the year covered by the second instalment of Cherry Red’s ‘Musik Music Musique’ series.

1980 was something of a transition year for the synth as it knocked on the door of the mainstream charts but by 1981, it was more or less let in with welcome arms. From the same team behind the ‘Close To The Noise Floor’ compendiums and the most excellent ‘Electrical Language’ boxed set, ‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ presents rarities alongside hits and key album tracks from what many consider the best year in music and one that contributes the most to the legacy of electronic music in its wider acceptance and impact.

Featuring HEAVEN 17  with ‘(We Don’t Need This) Fascist Groove Thang’, OMD with ‘Souvenir’ and the eponymous single by VISAGE, these songs are iconic 1981 canon that need no further discussion. Meanwhile the longevity of magnificent album tracks such as ‘Frustration’ by SOFT CELL and ‘I Remember (Death In The Afternoon)’ by ULTRAVOX can be summed by the fact that they have featured in 21st Century live sets alongside their parent acts’ hits.

Although not quite as celebrated, ‘You Were There’ from pastoral second John Foxx long player ‘The Garden’ captures the move from stark JG Ballard imagery to something almost romantic. DEVO are represented by the LinnDrum driven ‘Through Being Cool’, the opener of the ‘New Traditionalists’ album which comes as a statement that the mainstream was their next target; the Akron quintet were one of the many acts signed by Virgin Records as the label focussed on a synth focussed takeover that ultimately shaped the sonic landscape of 1981.

Then there’s TEARS FOR FEARS’ promising debut ‘Suffer The Children’ in its original synthier single recording and The Blitz Club favourite ‘Bostich’ from quirky Swiss pioneers YELLO. Another Blitz staple ‘No GDM’ from GINA X PERFORMANCE gets included despite being of 1978 vintage due to its first UK single release in 1981. The use of synth came in all sorts of shapes and FASHIØN presented a funkier take with ‘Move Øn’ while the track’s producer Zeus B Held took a more typically offbeat kosmische approach on his own ‘Cowboy On The Beach’.

Pivotal releases by JAPAN with the ‘The Art Of Parties’ (here in the more metallic ‘Tin Drum’ album version) and A FLOCK OF SEAGULLS ‘(It’s Not Me) Talking’ highlight those bands’ then-potential for mainstream success. But in the battle of the New Romantic boy bands, the sitar tinged DURAN DURAN B-side ‘Khanada’ easily blows away the SPANDAU BALLET album track ‘Reformation’ in an ominous sign as to who would crack it biggest worldwide.

The great lost band of this era, B-MOVIE issued the first of several versions of ‘Nowhere Girl’ in December 1980 on Dead Good Records and its inclusion showcases the song’s promise which was then more fully realised on the 1982 Some Bizzare single produced by the late Steve Brown although sadly, this was still not a hit.

The best and most synth flavoured pop hits from the period’s feisty females like Kim Wilde and Toyah are appropriate inclusions, as is Hazel O’Connor’s largely forgotten SPARKS homage ‘(Cover Plus) We’re All Grown Up’. But the less said about racist novelty records such as ‘Japanese Boy’ by Aneka, the better… the actual nation of Japan though is correctly represented by their most notable electronic exponents YELLOW MAGIC ORCHESTRA with ‘Cue’ from ‘BGM’, the first release to feature the Roland TR808 Rhythm Composer.

With these type of boxed sets, it’s the less familiar tracks that are always the most interesting. As the best looking member of TANGERINE DREAM, Peter Baumann had a crack at the single charts with the catchy Robert Palmer produced ‘Repeat, Repeat’ while former Gary Numan backing band DRAMATIS are represented by ‘Lady DJ’ although its epic A side ‘Ex Luna Scientia’ would have equally merited inclusion. But BEASTS IN CAGES who later became HARD CORPS stand out with the stark dystopia of ‘Sandcastles’.

The one that “should-have-been-a-pop-hit” is the ABBA-esque ‘I Can’t Hold On’ by Natasha England and it’s a shame that her career is remembered for a lame opportunistic cover of ‘Iko Iko’ rather than this, but the delightful ‘Twelfth House’ demonstrates again how under-rated Tony Mansfield’s NEW MUSIK were, and this with a B-side!

The rather fraught ‘Wonderlust’ by THE FALLOUT CLUB captures the late Trevor Herion in fine form on a Thomas Dolby produced number with a dramatic Spaghetti Western flavour that is lushly sculpted with electronics. Over a more sedate rhythm box mantra, ‘Love Moves In Strange Ways’ from BLUE ZOO swirls with a not entirely dissimilar mood.

Mute Records founder Daniel Miller was breaking through with his productions for DEPECHE MODE in 1981, but representation on ‘Musik Music Musique 2.0’ comes via the colder austere of ‘Science Fiction’ by Alan Burnham. ‘West End’ by Thomas Leer adds some jazzy freeform synth soloing to the vocal free backdrop, while ‘Surface Tension’ from ANALYSIS is an appealing instrumental.

The strangely accessible weirdness of CHRIS & COSEY’s ‘This Is Me’, MYSTERY PLANE’s ‘Something To Prove’ and the gritty ‘Brix’ from PORTION CONTROL will delight those more into the leftfield, while AK-47’s ‘Stop! Dance!’, the work of Simon Leonard (later of I START COUNTING and KOMPUTER fame) is another DIY experiment in that aesthetic vein.

Some tracks are interesting but not essential like Richard Bone’s ‘Alien Girl’ which comes over like an amusing pub singer SILICON TEENS, Johnny Warman’s appealing robopop on ‘Will You Dance With Me?’ and the synth dressed New Wave of ‘Close-Up’ by THOSE FRENCH GIRLS. For something more typically artschool, there’s the timpani laden ‘Taboos’ by THE PASSAGE and SECOND LAYER’s screechy ‘In Bits’.

More surprising is Swedish songstress Virna Lindt with her ‘Young & Hip’ which oddly combines showtune theatrics with blippy synth and ska! The set ends rather fittingly with Cherry Red’s very own EYELESS IN GAZA with the abstract atmospherics of ‘The Eyes Of Beautiful Losers’ although they too would eventually produce their own rousing synthpop statement ‘Sunbursts In’ in 1984.

Outside of the music, the booklet is a bit disappointing with the photos of OMD, TEARS FOR FEARS, HEAVEN 17, B-MOVIE and a glam-bouffanted Kim Wilde all coming from the wrong eras. And while the liner notes provide helpful information on the lesser known acts, clangers such as stating Toyah’s ‘Thunder In The Mountains’ was from the album ‘The Changeling’ when it was a standalone 45, “GONG’s Mike Hewlett” and “memorable sleeve designs by Malcolm Garrett’s Altered IMaGes” do not help those who wish to discover the origins of those accumulated gems.

But these quibbles aside, overall ‘Musik Music Musique 2.0’ is a good collection, although with fewer rare jewels compared with the first 1980 volume which perhaps points to the fact that those who had the shine to breakthrough actually did… 40 years on though, many of those hit making acts (or variations of) are still performing live in some form.

Was 1981 the most important year in synth as far becoming ubiquitous in the mainstream and hitting the top of the charts internationally? With VISAGE’s ‘Fade To Grey’ becoming a West German No1 in Spring 1981 through to SOFT CELL taking the summer topspot in the UK and culminating in THE HUMAN LEAGUE eventually taking ‘Don’t You Want Me?’ to No1 in the US, the sound of synth had done its job. Setting the scene for 1982 and 1983, further editions of ‘Musik Music Musique’ are planned.


‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ is released by Cherry Red on 15th October 2021 as a 3CD boxed set

https://www.cherryred.co.uk/product/musik-music-musique-2-0-the-rise-of-synth-pop-3cd-clamshell-box/


Text by Chi Ming Lai
12th October 2021

NEULAND Neuland

Whilst TANGERINE DREAM continue to forge ahead without founder member Edgar Froese, it has been intriguing to monitor how ex-members of this iconic and highly influential electronic band have developed their own solo careers and collaborate despite being part of the act at differing times.

Jerome Froese (who was a member of TD between 1990-2006) and Johannes Schmoelling (1979-1985) worked together with Robert Waters as part of LOOM and now sees a new joint venture between Peter Baumann and Paul Haslinger.

Baumann was part of TANGERINE DREAM during their classic ‘Virgin Years’ period and Haslinger replaced Schmoelling in the band in 1986, staying until 1990 to help solidify their soundtrack work (‘Miracle Mile’ and ‘Near Dark’) plus the well-received Jive Electro album ‘Underwater Sunlight’.

Since leaving TANGERINE DREAM, Haslinger has continued to pursue the production of soundtrack music by scoring for a selection of film, TV and computer games including ‘Fear the Walking Dead’ and ‘Resident Evil – The Final Chapter’. Despite speculation that Peter Baumann would rejoin TD after Edgar Froese’s passing (a Facebook announcement even announced the possibility), Baumann ended up instead releasing another solo album ‘Machines of Desire’ to add to his individual canon of work which started with ‘Romance ‘76’ and ‘Trans Harmonic Nights’.

The seeds of Baumann and Haslinger’s collaboration started way back in 1991 with a promo cassette entitled ‘Blue Room’ but it’s taken until 2019 for this partnership to be solidified with the release of their eponymous double album ‘Neuland’.

For those expecting re-treads of eras that Baumann and Haslinger explored with TANGERINE DREAM, ‘Neuland’ (‘New Territory’) will come as a surprise as it shows no huge desire to revisit past glories (although there are some subtle nods). Instead it focuses more on a soundtrack-based aesthetic and also factors in Baumann’s use of live percussion which featured heavily in ‘Machines of Desire’.

Album opener ‘Cascade 39’ is one of the most backwards-looking tracks on the album with a combination of Berlin-school style sequencing and a Minimoog-styled solo weaving through most of the piece. The introduction to ‘Road to Danakill’ is an unsettling mixture of vocal samples and what sounds like an ice cream van(!) before breaking into a mixture of brass, choir and glitched/reversed electronic percussion. It’s here that Haslinger’s soundtrack credentials start to come to the fore and it’s not too much of a stretch of the imagination to envisage this as a theme to a Fox TV series.

‘Counting on Time’ has a very recognisable Baumann-esque theme, almost classical in conception, but combined with more warped percussion and ethereal background sweeps. The piece mutates from here eventually morphing into an entirely different beast with deep synth basses and synthetic choir melodies.

In complete contrast ‘Dream 9’ is a distant cousin of ‘Trans Europe Express’ era KRAFTWERK with mid-section clanging metallic percussion a la ‘Metal on Metal’ and Vako Orchestron-like textures spread over its seven and a half minute length. ‘Liquid Sky’ is an intriguing mixture of TANGERINE DREAM styled sounds and musical parts, with melodic elements which hint at ‘Phaedra’ or ’Rubycon’ and a middle sequencer section which recalls ‘Thru Metamorphic Rocks’ from the ‘Force Majeure’ album.

It takes nine tracks before fans of old school TD are rewarded with the piece ‘Measure 3’ where both Haslinger and Baumann let loose in a track with an improvised synth solo over a ratcheted step-sequencer bass part. Far more disciplined than the previous more unstructured tracks, ‘Measure 3’ comes as somewhat of a relief, even though it is far from a hum-along melodic piece! The remaining six pieces all have a soundtrack-aesthetic to them and veer from more unsettling soundscape based work of ‘Nautilus’ through to the euphoric/uplifting album closer ‘Longing in Motion’.

At over 80 minutes in length and completely instrumental, ‘Neuland’ will be (for most) a daunting and challenging listening proposition, but repeated listens help to reveal its charms. A single album may have been a more preferable option, but in these days of Spotify playlists it would be easy to create your own ‘highlights’ for a concise version.

Those seeking the comfort blanket of classic era TANGERINE DREAM would be better off seeking out the band’s newer material, But listeners who are in reverence of Baumann and Haslinger’s previous output will find much to love here. Ultimately ‘Neuland’ is the epic sprawling sound of a hugely influential electronic duo pushing the musical envelope and steadfastly refusing to rest on their musical laurels… new territory indeed…


‘Neuland’ is released by Proper W/S in double vinyl LP, CD and bluray and digital formats

https://www.neuland.net/

https://www.facebook.com/neulandproject/

https://www.instagram.com/neulandproject/


Text by Paul Boddy
6th December 2019

In Search Of Hades: The Legacy of TANGERINE DREAM

TANGERINE DREAM were formed during the Autumn of 1967 by Lithuanian artist Edgar Froese, a lover of Surrealism, sculpture and THE ROLLING STONES.

Based in Berlin, Froese became disillusioned by the rock scene at the time, took the band name from a lyric by THE BEATLES and set about forging a musical project which had sonic experimentation at its very core.

With a fluctuating line-up which at its conception included respected synthesist Klaus Schulze, the band finally started to gain recognition and commercial success in 1975 with the now acknowledged ‘classic’ line-up of Froese, Chris Franke and Peter Baumann.

Following the passing of Froese in 2015 and with their founder’s wishes, TANGERINE DREAM continue with a line-up that still exists today of Thorsten Quaeschning, Ulrich Schnauss and Yoshiko Yamane. TANGERINE DREAM are rightly acknowledged as one of the pioneers of electronic music and the body of work they produced (including the Froese / Franke / Baumann era) has had a huge influence on many musicians to follow.

‘In Search Of Hades: The Virgin Recordings 1973-1979’ covers this imperial phase in TANGERINE DREAM’s timeline, featuring a 16CD + 2 Blu Ray set including a lavish vinyl sized booklet and newly remastered versions of the albums ‘Phaedra’, ‘Rubycon’, ‘Ricochet’, ‘Stratosfear’, ‘Encore’, ‘Cyclone’ and ‘Force Majeure’.

The remastering has been done by Steven Wilson from the available first generation master tapes, but what is most interesting for fans of the bands is the inclusion of a host of previously unreleased material including album out-takes, three London concerts and the full 75 minute soundtrack to the Chichester stage play ‘Oedipus Tyrannus’. Although much of the band’s rarer material has been well served with the ‘Tangerine Tree’ / ‘Tangerine Leaves’ band-sanctioned bootleg series, a quality set such as this has been long overdue.

The title of TANGERINE DREAM’s 1970 debut album ‘Electronic Meditation’ is a bit of a misnomer in that the work itself featured no actual synthesizers, but utilised organs, tapes and found sounds including a backwards playback of Froese reading from a ferry ticket. ‘Electronic Meditation’ was free-form and experimental in its nature as were the band’s next three albums; ‘Alpha Centauri’, ‘Zeit’ and ‘Atem’.

Primarily eschewing melody for experimentation and atmosphere, it was common for the band have tracks that took up the whole side of an album and this approach continued until 1981 when TANGERINE DREAM started to focus on shorter, more concise pieces. At the heart of the band’s sound was a willingness to experiment with new equipment to the point where music technology manufacturers (including Wolfgang Palm’s PPG) would customize equipment specifically for the band for it to meet their needs.

It was however with their signing to Richard Branson’s fledgling Virgin label and 1974’s ‘Phaedra’ that the band had their major breakthrough commercially. The album itself was a stellar jump musically and was one of the first to feature the sequencer patterns that would go onto to define TANGERINE DREAM’s sound.

Photo by Michael Ochs Archives / Getty Images

Although largely ignored in their own country, the album went on to sell well in the UK, charting at number 15 mainly through word of mouth.

Pivotal to the band was the band’s album cover art, a trademark being the featuring of Froese’s son Jerome either on the front or within the gatefold of the design; most of TANGERINE DREAM’s iconic covers were created by Monique Froese and they help to beautifully encapsulate the music held within.

1975’s ‘Rubycon’ was a close sister to ‘Phaedra’ and could be seen as a refinement of its predecessor with the Mellotron atmospherics and hypnotic sequencer runs all present and correct. Listening back to the work retrospectively now, ‘Rubycon Part One’ still sounds absolutely stunning; after a short two minute intro (which teases the listener that it’s a return to the band’s experimental roots), the track opens up into a beautifully melodic ambient section with electronic birdsong and lush synth pads. The piece then transitions into a sequencer section that was latterly sampled by Alan Wilder’s RECOIL project and went on to secure TANGERINE DREAM’s highest chart placement to date by hitting number 10 in the UK.

The follow-up ‘Ricochet’ differed from the albums that preceded it, in that it was partially comprised of live recordings made at Croydon Fairfield Hall, but with additional studio sections added, including the live piano and Mellotron part that opens ‘Part Two’.

‘Part Two’ remains a breathtaking piece of work with the stunning contrast between the pastoral piano introduction and the interlocking sequencer part that follows. If there is a progression in sound it is the advancing complexity of the band’s Moog sequencer work; whereas ‘Phaedra’ and ‘Rubycon’ featured single lines, ‘Ricochet’ starts to up the ante with multi-layered ones and sets the template for what is now referred to as the ‘Berlin School’ of sequencing.

The album that kept the band occupied between ‘Ricochet’ and ‘Stratosfear’ in 1976 was equally important in securing the band’s reputation and also getting them further work in a different field. ‘Sorcerer’ was a film eventually released in 1977 by ‘The Exorcist’ director William Friedkin and saw the band diversify into mainstream soundtrack work.

Friedkin was an early innovator of using electronic music acts as soundtrack sources and with ‘Sorcerer’, he took the risky approach of getting the band to write their music for the film from looking at the script rather than giving them rushes to work with.

The impact of this approach also meant that the director could play the music on set for the actors and crew to help influence their art and Friedkin even edited much of the footage to fit the music rather than the opposite way around. Although ‘Sorcerer’ wasn’t a huge box office success (and lost a considerable amount of money due to its spiralling budget), it has since been critically re-evaluated and its electronic score certainly puts it ahead of its time when many films of the period would typically be soundtracked orchestrally.

Friedkin has since been quoted as saying that had he discovered TANGERINE DREAM sooner, he would have used the band to soundtrack ‘The Exorcist’, which is now inextricably linked with MIKE OLDFIELD’s ‘Tubular Bells’ instead. It is a shame that ‘Sorcerer’ is not present in the new box set, especially as the poor audio quality of the original vinyl pressings of the soundtrack don’t really do the work proper justice.

Released in 1976, ‘Stratosfear’ saw a departure for TANGERINE DREAM; rather than having side-long 20 minute pieces, a more concise approach was used with 8-10 minute tracks being constructed instead. An early mix from PINK FLOYD’s Nick Mason was abandoned due to disagreements between the band and Virgin Records. Although miles away from what could be considered a ‘chart friendly’ hit, the title track would centre around a musical theme that could almost be considered “catchy”! ‘Stratosfear’ has since become a live staple for the new line-up for the band and features on their current tour.

‘Encore’ was touted as TANGERINE DREAM’s first live album ‘proper’; supposedly recorded during the band’s North American 1977 Spring tour, the truth of the matter was far different. In Wouter Bessels’ sleeve notes for the boxset, he refers to the album as a “jigsaw”, with the four long tracks featuring “bits and pieces of recordings mainly made at soundchecks and pre-tour rehearsals in Berlin”. The only track that was truly live was the version of ‘Monolight’, an edited version of a performance captured at the Lisner Auditorium in Washington DC.

‘Encore’ set the precedent for the band in the “is it live or isn’t it?” stakes with the most infamous being the 1988 ‘Live Miles’ album which when compared with a bootleg recording of the Albuquerque concert (that it was meant to represent), showed that it featured no actual music from the show itself! It is interesting to ponder why the band actually did this, were they dissatisfied with the recordings of the performances?

Surely it was inevitable that this ‘deception’ would eventually catch up with them with the huge amount of bootlegs out there in the public domain. These quibbles aside, ‘Encore’ provides a fitting enough tribute to the end of the Froese / Franke / Baumann era and is certainly entertaining from the perspective of hearing of several over-excited Yanks “whooping” during the band’s sequencer passages. However, 1978’s ‘Cyclone’ went to prove to be one of the most polarising albums in TANGERINE DREAM’s back catalogue.

Former member Steve Joliffe was asked to rejoin the band by Froese to contribute vocals and flute to ‘Bent Cold Sidewalk’ and ‘Rising Runner Missed By Endless Sender’. If anything, these additions were a retrograde step for the band, with much of ‘Cyclone’ appearing to align itself with other progressive rock acts of the day.

The lengthy ‘Madrigal Meridian’ which formed the whole of the second side was arguably more representative of where the band was heading, but the addition of vocals wasn’t to be repeated until the William Blake influenced 1987 album ‘Tyger’.

Although rather “hey nonny, nonny” and ‘Blackadder’-ish in places, Jolliffe’s vocals on ‘Bent Cold Sidewalk’ do actually work and ELECTRICITYCLUB.CO.UK does have a soft spot for ‘Bent Cold Sidewalk’, its brassy synth melodies and sequencer driven middle section go together to create an excellent audio triptych which bears up to repeated listens.

The follow up to ‘Cyclone’, ‘Force Majeure’ saw a return to pure instrumentals for the band with the blissed out Balearic acoustic guitar based intro for ‘Cloudburst Flight’ and the stunning extended sequencer passage on ‘Thru Metamorphic Rocks’ providing the album highlights. The latter proved so successful that its elements were recycled and ended up on the Michael Mann directed motion picture ‘Thief’ as ‘Igneous’. ‘Cyclone’ drew this era to a close and on the near horizon was the joining of Johannes Schmoelling who would go onto have a huge impact on the band and help redefine their sound for the next six years or so.

For purchasers of the box set, the main attractions are the remastering, the previously unreleased material and Blu Ray content. Long-term fans of the band who open the box will likely gravitate to ‘Oedipus Tyrannus’ first; a set of tracks composed for Keith Michell’s adaptation of a work which was performed on 18th August 1974 at the Chichester Festival Theatre.

‘Oedipus Tyrannus’ has been mixed by Steven Wilson from the original multitracks and is sonically stunning, certainly nothing like a 1974 rarity which had been buried in an archive would be expected to sound like. The opening couple of tracks ‘Overture’ and ‘Act 1’ revert back to the band’s earlier experimental pre-’Phaedra’ sound, but are nonetheless entrancing all the same. Where the set really finds its feet is in ‘Act 2: Battle’; after opening with white noise based percussion, the piece eventually breaks into one of TANGERINE DREAM’s trademark sequencer workouts which ebbs and flows for the remaining ten minutes before ending on a short Mellotron flute coda. ‘Act 3’ is undoubtedly the centrepiece here and gives much of ‘Phaedra’ and ‘Rubycon’ a run for their money in terms of sheer innovation and quality.

Another bubbling sequencer line takes centre-stage and the audio quality of Wilson’s mix makes ‘Act 3’ sound like it was recorded yesterday and not 45 years ago. Wilson’s usage of panning and reverb sensitively update the band’s sound and it is clear that the mix was done with the utmost respect to TANGERINE DREAM’s roots and original sonic template. There is also a 5.1 surround version of ‘Oedipus Tyrannus’ on one of the two Blu Rays in the box set.

The Blu Ray content also includes Steven Wilson’s excellent 5.1 mixes of ‘Phaedra’ and ‘Ricochet’ as well as the Coventry Cathedral concert (which still unfortunately has the overdubbed ‘Ricochet’ soundtrack on it rather than the original concert recording). There is however some consolation in that the original Coventry Cathedral piece is present on the ‘Stratosfear’ disc within the box set.

Photo by Michael Putland / Getty Images

Listening back retrospectively to the actual recording of this concert makes it easier to try and comprehend why the film maker Tony Palmer deemed it necessary to try and overdub the footage that he had; the first 25 minutes of the segment featured is uncompromisingly bleak. But the decision to shoehorn these two elements together has continued to raise the hackles of TD fans for several years now, especially as the film footage is beautifully captured.

Tony Palmer pops up again on another of the Blu Ray’s extras, the 1976 German documentary ‘Signale Aus Der Schwäbischen Straße’; this is a fascinating archive piece including contributions from Monique Froese, Richard Branson (misnamed here as ‘Richard Barnes [!]’) and an interview face-off with the band. A rather awkward looking John Peel and journalist (who is only referred to as ‘Miles’) watch as the band fend off a selection of increasingly antagonising questions by Tony Palmer. A finger wagging Froese becomes visibly annoyed by the end, especially with Palmer’s assertion that much of TD’s music is too highbrow and a working class audience just wouldn’t “get it”!

The documentary also features some of the best close quarter footage of the band’s equipment and live performance from this era. The most prescient point in the whole documentary occurs when the journalist ‘Miles’ makes the point that one day, “synthesizers will be able to play chords… that mass production of those synthesizers will open up a new field and will eventually be as affordable as electric guitars”. And when this happens “English groups will be able to make more electronic music as well!” The film ends with Froese in disguise, pointing at the band’s reel-to-reel tape recorder and comically questioning whether they actually play live or not…

Also of interest are the three live sets from the era, one from their debut UK performance at the Rainbow Theatre in Finsbury Park in 1974, one from a gig at Victoria Palace and a recording of the band’s Royal Albert Hall concert from April 1975. All of these recordings are above average in quality considering their age and appear to be unaltered snapshots of the three live sets.

What is incredible about these recordings is the band’s desire never to repeat themselves, which meant that a live gig ‘rehearsal’ would usually entail a short discussion minutes beforehand along the lines of “Let’s start in E and then go up to a major third to G and then end on A”. The fact that the band was also fighting the unreliability of much of their equipment (Moog oscillators were notorious for going out of tune when temperatures fluctuated), meant that what they were doing was technically a hyper-pure form of Jazz… but instead of using upright bass, drums and piano, they were using new and unreliable electronics instead.

Although the music remastering and track selection has been done extremely well here, there are some points of controversy. Several inaccuracies feature in the lavish booklet (which takes up half of the package), this includes incorrect dates, photos which have been wrongly attributed and typographical errors. The most verbal beef has come from Jerome Froese who feels that his mother Monique has been airbrushed out of the project (although she is mentioned in the booklet, but only gets a single mention for her artwork in the rundown of credits at the front of the booklet).

Fortunately, there are vinyl album size reproductions of her iconic sleeves within the package, which put the new ones created for ‘Oedipus Tyrannus’, ‘Royal Albert Hall’, ‘Victoria Palace’ and ‘Live At The Rainbow’ totally to shame.

These gripes aside, ‘In Search of Hades’ is a fitting audio tribute to the early years of TANGERINE DREAM, Steven Wilson has done a fantastic job with his remastering / remixing of the material and the next question for many fans of the band will be “if” and “when” a Johannes Schmoelling-era box set will be released?

Without question there remains only two true titans of electronic music, KRAFTWERK and TANGERINE DREAM, both German and both fortunate enough to be able to afford the best electronic equipment available. Most importantly they were able (in their own differing ways) to use those resources to create an incredible early body of work which would set the template to influence countless artists afterwards.


In memory of Edgar Froese 1944 – 2015

‘In Search Of Hades: The Virgin Recordings 1973-1979’ is released as a 16 CD + 2 Blu Ray boxed set by UMC

http://www.tangerinedream.org/

https://www.facebook.com/TANGERINEDREAM.OFFICIAL

https://twitter.com/QTangerineDream


Text by Paul Boddy with thanks to Andy King and Wouter Bessels
24th June 2019

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