HiQualityCD. Tangerine Dream Eastgate Era collection vol.1
- Navel Of Light - Part One
- Navel Of Light - Part Two
- Navel Of Light - Part Three
- Persistence Of Memory - Part Four
- Persistence Of Memory - Part Five
- Persistence Of Memory - Part Six
Recorded February 2007 at the Eastgate studios Vienna
Produced by Edgar Froese
All instruments programmed and played by Edgar Froese and Thorsten Quaeschning
Track 1-3 composed by Edgar Froese
Track 4-6 composed by Thorsten Quaeschning
In November 2006 TD got the offer from a Japanese Business Manager, who turned 82 last year, to compose and record the so-called 'Five Atomic Seasons'. As it was clear that this was a real serious assignment, TD were told that the person who ordered the composition did study during his youth in the two cities which had been destroyed by atomic bombardments back in 1945, Nagasaki and Hiroshima.
The five compositions had to be in length 54 minutes each. Part one and two, - Spring and Summer 1945 - the client spent living in Nagasaki, while he lived in Hiroshima in Autumn and Winter of 1945, where he survived one of the most lunatic and barbarian war crimes ever done by mankind.
Spring and Summer will describe the normal atmosphere in a Japanese city with some of the rising premonitions of what will happen on August 9th 1945. Autumn and Winter in Hiroshima will musically mirror what happened after August 6th 1945.
The Fifth Season supposes to be the ´time after´, the so-called 'endless season'.
2007. Press Information
Is it about another Tangerine Dreamian legend? However the history surrounding Springtime in Nagasaki will have what it takes to make TD fans gossip and fantasized for the next decade. According to press guide; a fantastically fabulously rich Japanese businessman would have contacted Edgar Froese in order to ask him to compose a work divided into 5 acts to commemorate the 2 Japanese cities which received an atomic bomb in 1945, Nagasaki and Hiroshima. Each opus has to have a maximal duration of 54 minutes and be in limited edition. The mysterious sponsor would have studied in its 2 cities and would have been a resident of Hiroshima during the bombardment. In spring and summer, he lives in Nagasaki while in autumn and winter he lives in Hiroshima. At 83 years old, this strange character dreams about a 5th season that would be eternal. Real or not, it’s an excellent prelude to a very intelligent and interesting 1st opus offered by Edgar since ages.
It‘s with a crash to symphonic flavor, stuffed with intermittent percussions that starts the 1st part of Springtime in Nagasaki. Navel of Light explores a more atmospheric side with a slow rhythm which progresses on soft and light sequences. The synth is suave and smooth, throwing nice violin strata which exploit a spectral sonority on a beautiful line of bass. It’s a dense and atonal sound fauna with asymmetric percussions which wind around a wave-like movement, fed by orchestral strikes as we find on Purgatorio.
The 2nd part offers a melodious theme on a virtual Koto, with thoughtful and nostalgic notes, lulled by a hazy synth with raucous choirs as on Madcap Flaming Duty. A nice sequencer moves this astral idleness in spreading a tempo with a syncopated sweetness, fed by rasping laments and more seducing choirs.
The 3rd part renew with a floating ambiance where crystalline notes move modulations on a soft wave-like sequence and a flamboyant percussion play. Surprising percussions and other sequenced with a bass which flows in cascade and celestial voices on a progressive but light rhythm.
A hopping sequence, fed by percussions and sound effects as flighty opens Persistence of Memory. Fluid the tempo is hatched on a movement with insidious curves where a nasal sax (or is it one harmonica?) crosses uncertain choirs interwoven with echoing and scattered guitar notes creating a melodious cacophony. It’s a strange track on an uncertain structure but which that hook the attention. By moments one would says a James Bond theme on acid. As much surprising as delicious, it’s melting on a 2nd part flooded by a synth with floating and captivating strata. Beautiful celestial voices are rising over this synth density filled of uncertain rhythms and sonorities. This is a heavy part with static modulations where we cross portions of Vivaldi on hybrid laments. There is a lot of studio work on this track which calms down with a nice melodious piano, carried by a melancholic nasal sonority at the depths of a cavern to 1001 drops which resound as aggressive piano notes to be molding to reverberations of a guitar with saxophones tonalities. As I wrote earlier; it a whole work of studio on this part. A strange nuance which lights passions and dies on chords of a cold guitar before being reborn on a furious rhythm tortured by great synth solos as well as solid percussions which hammer a galloping rhythm, hardly stroboscopic, beneath an avalanche of furious synth waves.
A 3rd infernal, too short, track which goes off in a wet cavern.
Readers of Guts Of Darkness know how critical I can be over the works of this legendary trio that stopped being itself since the last 25 years and I must say that Springtime in Nagasaki is a long time awaited TD opus. It’s a strong opus with ambivalent movements on strange structures where the rhythm crosses the atonal, even cacophony, with an unsuspected depth. Percussions play and sound effects are sublime, whereas Persistence Of Memory's sound avalanche is of an attraction that has an equal only his originality. There is no fan who can be disappointed by Springtime in Nagasaki and let’s hope there will be copies left for years…but you know what? I'm pretty sure about that!
Sylvain Lupari / Guts Of Darkness
Navel of Light part 1. Edgar starts the album off with a low dramatic drum note, together with a descending bass synth. After a few bars a skipping high hat pattern is introduced. It reminded me more of something from Paradiso, everything quite dry and high up in the mix with usual chord changes we've grown used to from Edgar. This leads into an almost `Jean-Michel Jarre-like' section over a low choir note, with some nice metallic tones and warm synth sweeps, albeit fairly formless without an obvious tempo, here Edgar walks the fine line of holding your interest with timbre alone and just about holds it together with a darker tone taking the center stage, before the tension dies away once again. More powerful chords are then introduced…leading into
Navel of Light part 2. A voice moans, as reversed twittering sounds play with Japanese plucked notes, (I say Japanese but what it actually reminded me of was a hammered dulcimer in tone). Formless and slow, as a languid bass note plays with a choir accompaniment (it reminded me bit of Vangelis in places). It almost doesn't exist, almost stops, sometimes dissolving into single notes, perhaps hinting at a more improvisational approach?). A voice cries out! (the same sound started this track, it was also used by Thorsten on Madcap's Flaming Duty) and then a repeated sequence builds (typical of Edgar's solo work), with long filter sweeps, with parts of melodies that don't seem to develop and just hang for a few seconds only to fall back into the sequence. A buzzy synth is panned left and right as a rhythmic pulse starts (together with a shaker rhythm) and a sampled wordless female opera singer picks out the chord changes for a while. A high arpeggiated sequence is added only to fall away and then reappear. The track builds in power, without any major changes, but now the bass drum can now be heard as well as felt. The sequencer dies away, leaving just the bass and chord changes. An interesting track, albeit perhaps too long? I never found it boring, but perhaps the lack of a central them or strong melody made it seem longer. However, it's nice to hear Edgar using some new synth patches for a change.
Navel of Light part 3. A Jarre like choir plays, with an echoed digital `metallic' tone…up and up …and then back to the beginning. A sequencer starts, quite unlike anything Edgar has tried before, comprising of smaller sections of notes that are built upon or subtracted from as they play, it's hard to describe, it weaves through several key-changes in a rather organic/random manner, and you think it might take off at any moment but it never quite seems to go in the expected way. The track ends with the sound of wind over a choir phrase and a wavetable synth timbre, as well as other diverse sounds like echoed digital clangs and a voice-like element through a wah wah effect…which leads into:
Tracks by Thorsten Quaeschning
Persistence of Memory part 4. Starts with a brisk (although thankfully not `club like') four-on-the-floor rhythm, with sinuous synth/voice hybrid lead drifts in and out. Sampled sax is introduced (think Vangelis on his the City album) with distorted guitar chord backing. Almost like Pete Namlook in places. Brass stabs are introduced for a few bars, with the sound of water flowing and dripping building in the background. Thorsten once again shows what he can do with a varied palette of new timbres over a static beat.
Persistence of Memory part 5. Starts with a `Vangelis-like' intro a bit like a modern Albedo 0.39. With loops slowly cycling, some panned creating a languorous tempo with dripping water samples. The track even included a few seconds from Vivaldi's the Four Seasons. A nice filter effect leads into a slightly darker section and its here that a grand piano is introduced; sounding somewhat like Suzanne Cianni meets Johannes Schmoelling, augmented with some fuzzed guitars, it give an emotional edge to this track. The piano dies away leaving a subtle (and perhaps more ominous) feeling, hinting at the true horror that was Nagasaki's near future. More water and a single drum hit leading into...
Persistence of Memory part 6. Almost Vangelis like, chugging bass synths, with a soft chord backing, then drums are added with a rather aimless synth solo (the actual sound and melody are a bit weak for me), it actually reminds me of Anthony Philips often overlooked album "1984". There's some nice drum interplay from Thorsten. It ends quite suddenly and the rushing water returns to fade.
Navel of Light is typical E.Froese fare peppered with a few new sounds. The trouble is, anyone who's familiar with his solo work will, as I did, find themselves predicting each new chord change before it happens. Dull.
Persistence of Memory from Thorsten is much better, with three parts that contrast, yet combine to provide a beginning, middle and end of a larger piece. As with Froese's track, however, the music doesn't feel 100% original, drawing a great deal of influence from the old Picture Palace Music tracks.
Overall, this album provides enjoyable background music, though it doesn't really demand the listener's attention like Tangerine Dream albums of old. Both composers need to move on and stop quoting their old material. Thorsten can get away with it for a while because not many people are familiar with his Picture Palace Music tracks; Froese, on the other hand, really ought to know better.
Worth buying because you can whip out Persistence of Memory and combine with the good stuff from previous TD EPs to make a decent album. :-)
2007. Dave S / UK
"Springtime in Nagasaki" is a fantastic album, a real stormer! New and unusual sounds and rhythms in combination with the given theme of the time before the atomic bomb explosion in Nagasaki creating a sound experience which is catapulting you into another tangerine dream - it's simply overwhelming!
A must-have for every true fan. This cd seems to tie up very much to older more experimental music from TD like Phaedra or Stratosfear.
I like Edgar Froese's composition more, because it's closer to the dramatic topic and has nice sequencing parts in it.
2007. Mario / Germany
Got my Springtime in Nagasaki - CD today. Only listened once to it.
A few first words:
Song One - Navel of light (Part One, Two and Three) composed by Edgar Froese
Very calm, have to listen a few more times to it. Did not "catch" me yet.
Song Two - Persistence of memory (Part One, Two and Three) composed by Thorsten Quaeschning
Very interesting song with catchy rhythm in the back, some nice japanese Voices and sounds. Part Three is the commercial highlight, it´s my favourite for a live-performance in London.
Maybe someone else could add the right words in better english :O)
Bye and happy calmful easterdays