Tangerine Dream

Hi,

if you liked the JS-era TD lineup then this may be of interest.

the band 'Perge' have made an album inspired the arrangements, melodies and sequences of a classic early 80's TD concert.

Enjoying enthusiastic reviews also.

If interested have a look at their FB page:

https://www.facebook.com/pergemusic

Some sound clips from the record

http://soundcloud.com/perge

Also someone ripped one of the tracks from the CD onto YouTube, can listen here:

http://www.youtube.com/watch?v=YmY6GZQAk_A


have a nice day.

Received mine this morning (white version)

Will listen later today.

May order the black version also, if the disc is also black (like a playstation one?)

Yes the black version is black both sides, like a PS1 game, and a record.

Hope you enjoy it.

Big thanks to Steve Roberts for his review....
REVIEW: PERGE ‘Dyad’ by Steve Roberts

Perge was conceived with a very specific agenda: to recapture the excitement of classic early 80’s Tangerine Dream. This is clearly stated on the sleeve, ‘Inspired by, and with respect for, the music of Chris Franke, Johannes Schmoelling and Edgar Froese.’ Disillusioned with the present state of electronic music,
or more specifically, the lack of music in the style of TD’s classic ‘Pergamon’ concert , Matthew Stringer and Graham Getty, aka Perge, have attempted to create an album of new music as a tribute to what they see as a ‘ golden age’ of Tangerine Dream/Electronic Music. After listening to the album many times, it is clear that Stringer and Getty have meticulously dissected TD’s DNA and succeeded in creating more than just an impressive facsimile. The ‘Temple of Trajan’ opens the set with Stringer’s long piece which starts with slow melodic, meditative piano, until 5 minutes 18 seconds in, a melody that would not sound out of place on TD’s ‘Legend’ soundtrack, cross fades into ‘Drusenflux’. The strings are soon accompanied with a simple bass sequence, textures and improvisations that are more reminiscent of the classic Virgin years. ‘Schesaplana’ is where the classic TD textures become more evident with faster more exciting sequencing and rhythms are accompanied with layers of synths. Getty’s sequencing is particularly effective here and an integral component in successfully recapturing the essence of the classic TD sound. ‘Zimbaspitze’ is a drifting tone poem before piano, strings and rhythms add more accessible references before the sequencers emerge and fade out. By the high standards of the set this is, for me, a lesser piece. The first ‘Set’ concludes with the excellent, ‘Vorder Brauspitz’. Set to a solid backbeat of sequencers and rhythms, more than a little reminiscent of ‘Chronozon’, this track succeeds in recreating the excitement, atmosphere and more disciplined moments of the Schmoelling years. Set 2 opens with a real highlight and a personal favourite, the magnificent ‘Naafkopf’, with flute tones nearly as good in sound to the opening of TD’s underestimated early 80’s classic ‘Tangram’. Here Stringer and Getty have genuinely created a classic that not just recreates the dynamics of a golden period of melodic electronic music, but takes on a life of its own, beyond nostalgia and deserves recognition in itself beyond the narrow confines of a ‘tribute band’. ‘Sulzflux’, changes the tone and pace and offers a necessarily atmospheric bridge before ‘Falknis’ returns to the more familiar sequencer based template. Perhaps the most difficult task facing Stringer and Getty is to create enough melodic invention, especially when being compared to Schmoelling, Franke and Froese. On ‘Falknis’ they rise well to the melodic challenge but for me, overall, the track is not quite as successful as ‘Naafkopf’, perhaps the sequencing and rhythms are a little over fussy, but I’m really nit picking here, it’s still a very good piece. The title track ‘Dyad’ returns to the trusty formula and here the sequencing more successfully drives the track forward and provides the perfect backdrop for Stringer’s impressive synth improvisations, here more in the classic late 70’s style TD complete with slow wind down. The ‘encore’ is another highlight. ‘Sassauna’ very successfully concludes the set providing another highlight to match ‘Naafkopf’, in fact in terms of recreating the ‘Scmoelling era TD’ this succeeds superbly. There are even Froese-like guitar improvisations to add greater atmosphere and excitement. So concludes a fine set which more than succeeds in achieving its objectives. In fact, it could be argued that Stringer and Getty, having now proved what they can do, should now find their own identity and see where that takes them. If anything they are so in awe of their inspiration and influences that they have underplayed their own achievement. Furthermore, although I do get the ‘live in concert’ pastiche, I just don’t think it was necessary and was a minor and unnecessary distraction. The lack of details about their input, beyond ‘Stringer pianos and synthesisers and Getty sequencers and rhythm computers’ and the lack of track information, eg) running times should be addressed next time. Although I’m sure many will disagree with me given the penchant for extended pieces which predominate the genre, I believe that the set would have generally benefited from just a little more editing in places. However, it is great to get a physical CD release instead of just a download and I really like the vinyl replica in black and limited edition white version. So what next for Stringer and Getty? They could delve deeper into the archives and specifically target TD albums, or search more for their own sound, or maybe, hopefully both. Many of my favourite TD moments involve a mellotron and acoustic guitar. My personal introduction to Tangerine Dream was through John Peel playing the gothic masterpiece ‘Atem’ and I still have a growing affection and respect for TD’s earlier ‘Musique Kosmiche’ period. My memories of the TD gig at Coventry cathedral are hazy but warm and I remember other gigs including the giant rabbits and departure that was the ‘Cyclone’ tour as well. However, I am also fan of the outstanding Schmoelling years and that is why I enjoyed ‘Dyad’ so much and I’m sure many others will too. So where do Stringer and Getty go from here? Perge could add a third member but at this stage I would settle for another album and see what happens. Over to you guys.

STEVE ROBERTS (August 2012)

great review and much respect to m.s. and g.g for the music.

but of course the ‘ golden age’ of Tangerine Dream/Electronic Music was 1974-1977.

imho, so dont get bent out of shape

bigmoog wrote:great review and much respect to m.s. and g.g for the music.

but of course the ‘ golden age’ of Tangerine Dream/Electronic Music was 1974-1977.

imho, so dont get bent out of shape

sparrow wrote:

bigmoog wrote:great review and much respect to m.s. and g.g for the music.

but of course the ‘ golden age’ of Tangerine Dream/Electronic Music was 1974-1977.

imho, so dont get bent out of shape

That was the "stone age" surely...

T4N63R1N3 DR34M wrote:

sparrow wrote:

bigmoog wrote:great review and much respect to m.s. and g.g for the music.

but of course the ‘ golden age’ of Tangerine Dream/Electronic Music was 1974-1977.

imho, so dont get bent out of shape

That was the "stone age" surely...

I know people bang on about the 'Baumann' era stuff a lot, the machines were very cool back then and it was certainly pioneering but for me musically it was quite limited, a lot of the equipment couldn't really play many notes at a time and the sequencers weren't that great, so you ended up with long mono-synth solos that ran for ages and never changed key. When JS arrived it coincided with quite a step forward in the hardware and there were a lot more chords and musical structure in the music as a result which is why the 80 - 87 sound is for me my favourite period of the band.

Reading the reactions to this new album, the references we took from the likes of Pergamon, Tangram, Calymba Caly, Thief, Logos etc generally don't seem to be spotted, it's as if the JS period of TD is becoming forgotten! A terrible situation if so, makes the project more important

Also there are loads of 'Berlin School' bands making music in that 70's style that there's no particular need for another one. There's also cool bands like Can Atilla that can nail the post-Franke sound so we figured that it would be nice to remind people how good the early 80's TD were, if they hear our tribute they might then want to dust off those LP's and play that wonderful music.

qube wrote:I know people bang on about the 'Baumann' era stuff a lot, the machines were very cool back then and it was certainly pioneering but for me musically it was quite limited, a lot of the equipment couldn't really play many notes at a time and the sequencers weren't that great, so you ended up with long mono-synth solos that ran for ages and never changed key. When JS arrived it coincided with quite a step forward in the hardware and there were a lot more chords and musical structure in the music as a result which is why the 80 - 87 sound is for me my favourite period of the band.

Reading the reactions to this new album the references we took from the likes of Pergamon, Tangram, Calymba Caly, Theif, Logos etc generally don't seem to be spotted, it's as if the JS period of TD is becoming forgotten! A terrible situation if so, makes the project more important

Also there are loads of 'Berlin School' bands making music in that 70's style that there's no particular need for another one. There's also cool bands like Can Atilla that can nail the post-Franke sound so we figured that it would be nice to remind people how good the early 80's TD were, if they hear our tribute they might then want to dust off those LP's and play that wonderful music.

the BM understands your point of view. and he agrees. and it is a worthy goal. we must champion the era. i do not see this as tribute, more homage. the js eara is not forgotten by me, its just that i am always a 1970s man. for many reasons.


sometimes i think electronic music needs this strong and focussed reminder that it can be immensely satisfying and enjoyable.