1. Streets of Kyoto
  2. Industrial Life
  3. Chilly Moons
  4. Lizard Lounge
  5. Cherry Blossom Road
  6. Tamago Yaki
  7. Craving for Silence
  8. Mad Sumo Yamoto
  9. Kyoto Sunrise
  10. Last Train to Osaka
  11. Shogun's Prayer
HiQualityCD. Tangerine Dream Eastgate Era collection vol.1

Composed and recorded by Johannes Schmoelling and Edgar Froese alone a few months before Tangerine Dream's Japan Tour in 1983.
Originally, it was planned to be released for the Japanese market exclusively .... however, this project couldn't be realized those days and went back to the archives.

Back in 1983 when Tangerine Dream toured Japan the first time, Edgar and Johannes came up with a lot of compositions which should have been performed during the tour and released on record later. The tour happened successfully, but due to controversies within the band, this music material never saw the light of a day.
Because of the fact that the music had nothing to do with other band members at that time, Edgar and Johannes decided 22 years later to make the material a full length CD.
Old 24 track tapes had to be restored to make this happen. So what you hear on this record is - the emotional situation the two composers were into many years back at the peak of one of Tangerine Dreams most creative periods.

2005. Press information Well what can one say a truly awesome album. You can definitely see influences of Edgar Froese & Johannes Schmoelling from that great time period 80's Tangerine Dream. Some nice piano pieces & terrific sequencing throughout each track.
An album that is a must addition to any follower of Tangerine Dream,Edgar & Johannes.
Very Melodic with great rhythmic qualities.
It also has some soundings from Edgars "Dalinetopia" & Johannes "Songs no Words" Albums. A true gem.
Pity it is only getting out to daylight now. Remarkable piece from two great members of Tangerine Dream.

2005. Geoffrey Keogh / Ireland 1. Streets of Kyoto:
Starts with a panned scurrying drum loop, with a simple bass note intro. To this is added a modern type sequence (very much like TD's latest stuff on Purgatorio or Edgar's solo tracks), pads are introduced on top of this, with some old PPG type sounds low in the mix. Drums drop in and out throughout the track. Great stuff, but modern sounding with little or no obvious input from Johannes (perhaps the tapes were too bad as there's 1 or 2 slight drop outs if you listen closely and Edgar had to rescue the track by overdubbing it more?).
2. Industrial Life:
A few seconds of the drums Edgar used on the Aqua remix, then punchy snare drums are added, with fat analog chords. On top of this Johannes plays a distorted, guitar type synth melody (with a MXR pedal?), whilst a mid paced sequence plays over distorted chords. Later a strummed type sound is added, with ominous bass notes underneath...drums build...then straight into a "Park is mine" section...I forget the track...you'll have to check. Brilliant nevertheless, very punchy, with great chords and new melody from Johannes? Excellent!!!
3. Chilly Moons:
Starts with a 12 string sample (to which a buzzy type analog sound is added later), with modern choir sounds, whilst a bubbling (mid paced) sequence slowly builds underneath (again very Edgar like...with hints of Canyon Dreams), this goes on for about 3 minutes with things subtley shifting, then a drum loop is added, building with more up-to-date drums on top (claps etc), the sequence takes on a more organ 'type' timbreas the volume builds, very modal. The track ends with analog bursts finally giving way to choir washes.
4. Lizzard Lounge:
Starts with a spiky (and punchy) sequence, with bell like overtones and a breathy bass type sound, whilst a hit hat rhythm repeats. Drums are then added, with loads of panned noise effects, then a VCF modulated sound is added, whilst more quirky 'boxy' drum sounds are added (just the kind of thing you'd expect from Johannes). Whilst this mid pacesection plays a panned melody is added as the sequence gets more complicated, then drops away leaving just the bass and modern pads to end. Brilliant!...
5. Cherry Blossum Road:
Starts with a fairly simple piano melody (by Johannes, could even be Edgar), with a subtle bass synth underneath, pads and washes are added, then powerful drums punch-in, whilst Johannes plays a great melody on top of it all. Brilliant!
6. Tamago Yaki:
Powerful drums start this track, with a weird bass and random note sequence, pads are added as the rhythm then builds into a chugging type sequence...'very atmospheric', then a tapping noise rhythm is added whilst an eastern feeling takes hold. PPG synth sounds are heard, with distorted disturbing chords and a strong bass plays. Just stunning!!!
7. Craving for Silence:
A solo piano intro, whilst a subtle bass synth note underpins it, then a panned (L-R) piano sequence starts, giving the whole track a minor key 'feeling'. Later a running paced rhythm starts, building to a powerful rhythmic section as the piano plays a meandering melody.Goes on a bit but I loved it :)
8. Mad Sumo Yamoto:
Starts with a fast analog sequence, with a low organ note. Johannes plays a nice (hard-sync) synth solo over this as the sequencers build into a more 1980's groove. Great stuff :) the finishing line is in sight..and what a finish!:
9. Kyoto Sunrise:
A plucked melody starts this track with a fantastic and highly atmospheric backing. PPG sounds are heard throughout, as a bass note sequence starts (it reminded me of Johannes' work more), things get more rhythmic and then it drops away mid-track for a few bars, and then comes back with gusto (what's a gusto?). A few strange effects are introduced. Fantastic!
10. Last Train to Osaka:
Low 'panned' strings open this track with a plucked (FM?) type melody. It reminded me a 'bit' like Kitaro in places. Another melody is introduced, together with a 1980's type choir sound and a modern echoed bell melody to close. A subtle track and a great counterpoint to the more rhythmic tracks....talking of which....
11. Shogun's Prayer:
Opens with a fast sequencer and drums, over which lush chords are played. A nice melody kicks in as the track builds, with great analog washes. The rhythm builds as drums are introduced (very much like Edgar's work on Dalinetopia...punchy and varied), as the track changes key and goes through several twists and turns before another great melody starts, the drums drop away and the lush chords close.

if this was played live, say as an encore you'd be weeping into your beer, and this time it wouldn't have anything to do with the price you paid for your beverage. Stunning, the best album TD have produced in a long long time...Cheers Edgar and Johannes, the boys played a blinder :D

2005. Andy K / UK Don't be deceived: there is only one track that sounds like it was performed in the early 80s, and it's a piecxe of music people will know from the unauthorised "The Park is Mine" soudtrack. Every single other tracks are either heavily tangetised, or brand new. If you long for the sound TD has during the Schmoelling era, you won't find it here: the music's sound and feel is definetly current Edgar Froese style and not 1983 TD. Only the last track captures the soul of that period's music and this track is awesome in that it contains all the spirit and energy of a "concert closer"... A must have? No.
Forgettable unfortunately... A good album? Yes when compared to recent TD, but bad considering this is supposed to be from 1983... Another way for Edgar Froese to make the fans' nostaligia transmute into easy money? Yes, most definetely... The guy has no more juice in him so expect more of this, a Phaedra 2005, a Cyclone 2007...
Let's milk the cow since there are people ready to drink bad milk in the hopes that it will taste like the milk of old...

2005. Logos1982 / Canada I understood from the articles I read that this should be a recording from the 80's "Schmoelling"-period. If you looking for that, forget this one. The tracks on this album are, according to me, brandnew. There is nothing 80's about them. Can't even find a "Schmoelling-sound" in these tracks. Maybe the electronic piano part?? I also listened to the album without having the 80's TD in mind. I find the album little inspired, little interesting, even boring. Why continue Tangerine Dream?? Other then being a great moneymaking machine, I can't think of anything else.

2005. Peter Bol / The Netherlands Yes, the material on this album certainly has a predominantly modern TD/Froese feel, and I'd say that most of it was recorded recently; certainly not in the 1980s! Though I think that some original sounds from the 1980s may be lurking in there somewhere. Just kind of lost in the modern "wall of sound" mix that this album is sometimes (though not always) guilty of! However remixed, redubbed or tangentized it is, there is nevertheless a fair amount of good music here. That's if you can be bothered to give it a chance and LISTEN to it! I think much of it is based on music Schmoelling and Froese composed back in the 1980s, so in that sense they're "keeping it real," at least to a degree!
It's just this album was obviously done with up-to-date recording and production techniques. Perhaps that could have been made clearer on the liner notes? I must say though that it shows ignorance to say there is no "Schmoelling-sound" on the CD.
Ever heard "White Out?" The original 1990 version that is. If so, you'll recognise a certain percussion sound on "Mad Sumo Yamoto" that (come to think of it) Schmoelling has used on other albums he's recorded including the original Theta version of "The Zoo of Tranquillity". There are certain quirky effects and other drum samples here and there on "Kyoto" that sound very like Schmoelling. If you are familiar with his solo work then it's not hard to see. If you are unfamiliar with Schmoelling's albums then you won't see it, simple as that. I will concede though that some tracks on this album sound very like modern Froese pieces.
I doubt very much if EVERY track on "Kyoto" has input from both musicians. I could be wrong though. Overall I'd say this is still a pretty good album, if you treat it as a new recording largely based on old compositions (I noted the "Park is Mine" track as well!).
I either like, or love, all the tracks apart from tracks 1, 2 and 10, though even these three are not without some merit. Three favourite pieces are "Chilly Moons," Lizard Lounge" and "Mad Sumo Yamoto".

2005. Jupiter 8 / UK In 1983 Tangerine Dream planned a to release a mini-lp, exclusively to the Japanese market. This idea was never realized due to disagreements. Maybe it was Chris Franke who put the brake on the project, as he didn't participate in the recording sessions.
That's why Kyoto only consist of Edgar Froese and Johannes Schmoelling. It sounds as if the original recordings only consisted of few sequences and drafted sounds, in 2005 compiled to a complete album.
Just like Green Desert from 1986 was based on recordings from 1973, Kyoto doesn't sound like Tangerine Dream anno 1983. No one can't say it doesn't sound like Tangerine Dream, but it is quite an usual version, twenty years after Schmoelling's departure from Tangerine Dream he works with Edgar Froese. According to Schmoelling it was quite a Dutch treat. Individually they opened their archives from 1983, to see what they got, and luckily it turned out to be an almost perfect work of art.
Together they have given the old 24-track tapes a facelift, all without help from Jerome. Puritans would undoubtedly prefer the original tapes, but I'm excited about the modern expression. (The track called Kyoto Sunrise can be found on TT Vol. 63: Assorted Secrets III in its original version, the way Edgar and Johannes published it in a German radio show, before the release of Kyoto). Kyoto is a beautiful, warm and melodic album. Sometimes the hair raises on the arms, sometimes it's ambient and sad, but it's excellent all the way. Kyoto is the proof that Tangerine Dream in the new millennium had yet another shot of creativity in the arm. Is it creativity, to dig out old mastertapes and release them? No, but Edgar Froese and Johannes Schmoelling succeeded in updating these old recordings and make them sound contemporary.

2006. Jacob Pertou / Denmark I knew this was going to be something special when, within the first two minutes of the first track, I found myself mentally singing Donna Summer's "I Feel Love" over the sequencers and suddenly recalling early Banco De Gaia at the same time.

The track concerned, 'Streets Of Kyoto' is a stunner - sequencer rhythms at the heart of the driving machine - but I tell you now, this track carries a hidden secret. You see, on the sleeve notes, it says "composed and performed in '83 - mastered in '05' - now there's no way that the electronic drum rhythm stems from '83 - surely not!! But, that said, it beefs up the sequencers to excellent extent giving that early nineties ambient flavor, and when the top layers of string synths, heavenly synth choirs and synth swoops all stride in, the track becomes seven minutes of absolute bliss - a stunning start to the album.
The odd part is that it's also the last you hear on the album of what could be called a "classic sounding sequencer rhythm" up front to this degree. But, before you all groan, let me tell you that what follows is pure class, the key being the quality of the composing - here we have two musicians whose ideas has fed and sparked each other, and the result is a set of anthems that are like parts of that era Tangerine Dream dissected, stripped down then rebuilt to produce mini epics of enduring musical enjoyment and inspiration.
The Asiatic flavour is kept to a subtle level and the symphonic approach so prevalent in a lot of their current works, largely absent until the final track, a sweeping, grand, flowing exit with all targets hit as sequencers, strong electronic drums, acres of string synths, sweeping synth melodies and panoramic backdrops provide a majestic end to what has been a hugely pleasurable musical journey.

It doesn't matter how much of this was played then or now - the fact is that it sounds fantastic thanks to the compositional creativity of two of the giants of synth music.

Dead Earnest Lost tapes of Edgar Froese and Johannes Schmoelling from 1983? Is it too good to be true for fans of Tangerine Dreams vintage period? Well, it would not get mistaken for Hyperborea or White Eagle, but Kyoto could easily be taken for a relatively strong TD soundtrack from the 1980s.

The scorching guitar and pounding beats of "Industrial Life" would sound right at home on the Thief soundtrack. The melodic synth chords toward the end of this track are full of optimism and energy.
"Chilly Moons", on the other hand, finds a comfortable middle ground, setting a mood and sticking with it for the duration, stabbing synth chords and drums carving out a sonic space to settle in to.
Even more relaxed is "Lizard Lounge", followed by Schmoellings beautiful piano playing on "Cherry Blossom Road", synths and piano melding seamlessly not unlike 1985s Le Parc disc.
Very similar in timbre is "Craving for Silence".
"Tamago Yaki" sounds more current, like something from the Dream Mixes series of CDs, with its squelchy synths and danceable rhythms, though it changes dramatically in the midsection, like someone leaning hard into the keyboard one chord after another. This one features some really nice sequencing.
My favorite may be "Kyoto Sunrise", with its crisp rhythm and quiet rapidly moving bass line.
"Last Train to Osaka" is filled with strings, having a light and delicate orchestral flavor.

Kyoto is a solid set, well worth releasing and well worth hearing.

Phil Derby / Electroambient Space Well folks as you may have read above, opinion is equally divided on this one....
I bought this album mostly on the basis that it was recorded in 1983, a time period, when as we all know the Tangs could simply do no wrong. Have to report, after playing this a few times, it just sounds like a typical "TD1990+". Not exactly bad, just very bland and - sorry but to these ears - uninspired.
And I now have about ten TDI albums worth of such
backgroundmuzak. I just hope you're enjoying your retirement Ed, 'cos we ain't!

2007. Mark Stevenson / Scotland UK