This page has been set up to provide inside information to those who want to know more about the music and the character behind Tangerine Dream. Here you will find answers to letters by fans, e-mails and interviews. As each question and answer is given equal importance, the text is not divided into topics.

Answers are given by Edgar directly or by the Administrator of this website.

 
 

# 1 Any chance in considering a TD sound without electronics??

 

What is normally called music has nothing to do with electronics in the first place. Music is what a composer and/or musician wants to say or portray in terms of sound and a structured pattern. The second step is to find the shortest and most effective way to express yourself. Unfortunately, as they don�t have a formal education, pop musicians often use electronics to conceal their lack of knowledge about making music. They can�t express themselves any other way. In the first years of my �electronic career� in the early seventies, I had to try very hard to transform my �biochemistry� into sound by turning knobs and shifting faders. Both my solo stuff and my contribution to Tangerine Dream would naturally sound completely different with acoustics, but the spirit behind it would be the same. One day in the near future there will be an unplugged studio recording by TD on the market.

 
 

# 2 Have you ever regretted taking the step from classical rock instruments to the “musical switchboard?”

 

In 1971, when we gave our first concert performed with synthesizers only, no one had ever before seen this kind of a stage setup. It revolutionized the entire music business and what happened is that a huge industry was created and would continue to develop over the next 30 years. Of course, not everything was positive, but using complex synthesizers was one of the few, if not the only way, to pursue new directions of musical composition and performance.

 
 

# 3 “Eat more s…, 100.000 flies can’t be wrong,” was the headline in the Melody Maker review of your unexpected hit release Pheadra in the UK in May 1975. Did this upset you?

 

I remember the feeling of reading it for the first time in London. It was like eating marshmallows topped with vinegar. I didn’t understand the story behind it at all. Did we produce the wrong recording at the wrong time for an unprepared audience? About half a year later I met the guy who wrote the crap in Paris. Virgin booked him a flight to review a gig we had over there. I bumped into an introverted, shy and pseudo-intellectual wimp who tried to convince me that he just had a bad day while writing the review for the MM. Even today there are too many idiots out in the media jungle. We don’t give a damn about what they think or write. Pretty boy Mick Jagger was right when he made his comment back in the 70’s: “I don’t care what the papers say ´bout me, as long as they spell my name right.”

 
 

# 4 Some people argue that electronic music is nothing other than a bunch of dogs barking at the moon?

 

I love dogs and that’s their way of sending bio e-mails with a very strong message. Seriously, it’s the same story all over. If people don’t have a clue about something, they start whining about the way things have to be. They get upset if something different interrupts their daily routine. It doesn’t matter if it’s music, literature or some exotic lifestyle. The real creation of a sound and the definition as “good” or “bad,” “dynamic” or “complacent,” “emotional” or “sterile” forms within the brain. Such biochemical and biophysical processes can’t be the same for each individual person because we all have had different experiences. So the only solution is to accept that there are things out there which you probably won’t like - but in order to respect other peoples’ opinions and tastes – develop a good level of tolerance.

 
 

# 5 Is it true that the final part for soundtrack for the film Thief ended up being locked in an LA restroom?

 

Sitting with Director Michael Mann in a Burbank Studio finishing the Thief score, suddenly someone ripped open the door and pushed us into a broom closet filled with cleaning articles .It was a very tight squeeze and very dark. I thought I was getting involved in an LA crime story. Nothing happened for quite some time; the door was locked from the outside. After a quarter of an hour had passed – this was a practical exercise in Einstein’s theory of relativity – the door was opened. Pardons were made and given the explanation that a union commission had just been there to search for illegal aliens. I had the necessary work permit for the States, but that was something the owner of the Studio didn’t know. Worst case scenario he could have lost his studio license by employing people without a union permit.

 
 

# 6 You drove in a military tank to a concert in Spain – is that trash or a true story?

 

Trash and truth often go hand in hand as we all know, but here the story is slightly different. We played at the great sports hall of Bilbao back in 1978. In the middle of the concert something showered against the glass walls of the building. It sounded like a rain storm, only the sky was crystal clear. Suddenly, an entire unit of police came from the left and right of the stage. We were ordered not to end the concert. It was very inspiring to play a good gig with the police helping you pressing the keys. The hall became unruly. No one informed us of what was happening; we ended the set and started again from the beginning, continuing nervously. After a frightening hour we were permitted to leave the stage. We learned that we had been caught in the middle of an uprising of Spanish separatists. What thought was rain was actually been the rifle shots hitting the windows. With weak knees we were brought back to the hotel in a bullet-proof military vehicle.

 
 

# 7 There is supposed to be a book on the market which covers the entire lifespan and development of TD as well as Edgar’s experiences as founder. Will it be available in 2006?

 

The book is still in the process of being written because my schedule doesn’t allow me to continuously work on it without interruption. All I can say is that it will reflect all areas and experiences I went through with or without TD within more than 40 years. Nothing will be left out… even all the bizarre stories and anecdotes will have their place. As far as my colleagues are concerned, I’ll have some very interesting words about the working process within the band. The finished product will completely change some people’s views a few of those underrated by the public will get the credit they deserve. Others will be recognized for what they did. The aim of the book is not just to satisfy TD fans… it will be a very entertaining reading.

 
 

# 8 What has been your main instrument as far as composing is concerned?

 

Definitely the piano. It always has been my sketchbook while in the Studio. Polyphonic, monophonic and percussive playing techniques can’t be performed on any other instrument in the same complexity. If I’m on the road I always have my laptop with a little keyboard. That way, I always have somewhere to save my thoughts and ideas.

 
 

# 9 Does playing guitar still touch you as “deeply as it did” – in your own words – 40 years ago?

 

Yes, it does – but surprisingly it’s different. Many years back, playing guitar was really just linked to my ego. It sounds strange at first, but identifying yourself with what you do can easily get you into a trap of pure egotism. Inundated with flattery, you think that you are becoming a better, bigger, more accepted musician, and all of a sudden you feel as though you have reached the peak. Today I can see it all from a more distant perspective; it happens with all instruments I’m using. It’s just wonderful to be able to express yourself without putting the ego part up front. Often it’s like listening to another person and enjoying what you hear. The result is surprisingly quite distinct if you don’t try to force things to be the way you want them. You’re more guided by the energy of the tone and things aren’t ambiguous anymore. Today it’s more of a contemplative approach.

 
 

# 10 Musicians do not always focus their careers on politics and social movements. What is said in public very often reflects the public’s naivety and ignorance about the subject in question. There are of course exceptions, like Bono or Geldorf, but is there a better way to go about changing the world and humanity?

 

It’s astonishing how much energy and careful thinking has been put into various projects set up by colleagues of mine through the years. It would be a false and inhuman reaction to capitulate about what we experience every day worldwide. That fact that people in the 21st century still die of hunger mirrors the brutal decadence of our global consciousness. All of us will get our payback cheque for this. Even if we call ourselves a society of individuals it’s absolutely clear that on a higher level of consciousness we all are one – no matter what contrary statements psychiatrists, scientists or politicians may come up with. I have nothing against the searching for the deepest hidden secrets of life, starting from the visible material all the way down to the atom as long as we recognize that it’s obvious that the gap between poverty and wealth will finally destroy the planet – our classroom.

 
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