HiQualityCD. Tangerine Dream Eastgate Era collection vol.1
- Climbing Mount Inasa
- In The Cherry Blossom Hills
- Mystery Of Life And Death
- Dreaming In A Kyoto Train
- Ayumi's Butterflies
- 11:02 AM
Recorded May 2007 at Eastgate Studios Vienna
All titles composed, performed and produced by Edgar Froese
Summer In Nagasaki is the second part of the so-called "Five Atomic Seasons".
The compositions reflect the experiences Mr. H. T. - an 82 year old Japanese business man - made during the time of the atomic bomb dropping in summer 1945 in Japan. This dramatic incident coincided with the relationship to his early love - his student fellow named Ayumi - who had no chance to survive that horrible attack. H. T. was so heavily shocked that he decided to abandon the world by going into a monastery.
The music - written as one long track of 54 minutes - dramatically describes a part of his life and destiny.
After Pinnacles, released in 1983, Edgar Dream fell in a heavy hyperborean coma. By leaving it to his sharply more creative colleagues, Tangerine Froese followed the wave of Poland and Le Parc without really knowing where he roamed or would go. More than 20 later and after several controversial works under the name of TD as well as solo works, Edgar Froese seems to have resuscitated by investing in an epic and historic work entitled Five Atomic Seasons, reminding Hiroshima and Nagasaki bombardments. Summer in Nagasaki is the 2nd musical picture of this cultural command from the mysterious and fabulously rich Japanese businessman Mr. H.T., surviving witness of this nuclear attack.
As on the 1st album of this series, Springtime in Nagasaki, the work has to last 54 minutes and it is with steps falling of oblivion that Climbing Mount Inasa's first notes resound on a melodious synth with uncertain breezes.
The sequencer is stirring in a hypnotic spiral, colliding an air of dťjŗ heard, on a progressive tangent. By tiny flakes, notes skip such as a crackling fire to swirl as a musical specter in thousand prisms. Fluid the melody is freeing to versed into an ambient passage with metallic felted sound effects where great percussions hammer a tempo of a haunting sensuality. By now the hearing is conquered and is letting lull by In the Cherry Blossom Hills which is melting melodiously to the opening track, while introducing us to the sublime Mystery of Live and Death. Edgar Froese creates a theatrical universe where the atony goes alongside to a dramatic structure with a mesmerizing minimalism. Itís a puzzling track by it unexpected ways, of which a superb passage in the 2nd part is not without reminding Stuntman with sequenced percussions which increase in cadence. An excellent passage, maybe the best of Froese since moons, which goes off slowly in melodious ashes of Dreaming in Kyoto Train. Itís a track which shows that Froese treats marvelously the melodious aspect without falling in its traps of easiness.
Aysumiís Butterflies will please fans of TD last decade with a soft Techno rhythm but with haughtiness Mellotron lines. Itís a good mixture between harmonies of former days and a more contemporary beat. Percussions are harmonizing to synth moods fluids and its circular droning, giving a convincing blend without discomfort or false notes. This is soft Techno with soul, something rarely heard on last TD. After the melodious Presentiment, 11-02 Am. plunges us into a static sound universe where choirs lull a light ambient oriental breeze on a hatched structure which gradually grows in rhythm. Itís a sonorous spark which is dying in the floating waves of the first bombs to have fallen.
Needs to return to Edgar Froese what returns to Edgar Froese. Summer in Nagasaki is a wonderful opus which is filled with this melancholic and harmonious sweetness which punctuated its young masterpieces such as Epsilon in Malaysian Pale and Stuntman. Itís a musical universe with rhythmic ambiguities, at once progressive and melodious on a canvas felted with oriental fragrances. We listen to Summer in Nagasaki as a dream, with an indefinite beauty by the breath of the imagination of a man who was absent for such a long time.
Sylvain Lupari / Synth&Sequences
Ok cards on the table, when I heard that 'only' Edgar was involved in this recording I immediately had certain preconceptions about what the music would be like (good and bad), to be honest I'm not always excited by Edgar's solo stuff. So what do I think now? 'for me' this has to be Edgar's finest recording, honestly I was left stunned by the controlled power of the music and the subject matter.
OK, there were a few moments where I thought 'ah, more of the same from Edgar'...but every time he saved the day. Yes there are some old sounds on this CD, but it's brimming with new timbres and ideas, Edgar is limiting himself deliberately on SUIN, but here is a mature composer bringing everything to the table, it's such a confident work.
Like a few fans I first skipped to the end of the recording to see how Edgar would deal with the nuclear bomb being dropped on the city (and very impressed I was to...you'll have to hear it for yourself).
However when you listen to it as a whole album, leading up to that moment, then the effect is a crushing experience, a self realization that whilst you're enjoying pure music, rushing along... that the music was like running to the center of the city and then looking up and once again you're at the end of the track, that sound....and you're one of the population looking up at 11.02am, and the sky has just blinked into the last thing you will ever see, a man-made sun bringing everything you know, every thought, every emotion to a close...finished...over.
I can't say any more...it's music, it's art...buy it.
2007. Andy K / UK
This one does not do it for me either. It is faster than springtime. Over all so far with just these two, the impression I get is listening to a sample library,
in this case the Vienna symphonic library. To me it was sort of like reviewing the samples, the pre made rifts and such then hearing a few twists. I am sure those who use samples know what I am saying here with out getting into the details.
More on the Summer in Nagasaki I only played it 4 times now. I am playing it again right now for a 5th. Twice in the car on the commute, twice in the studio. Each time, including the first time, I have this urge to kick it to the next track. Only reason, hopes of finding something more exciting. It's odd that it feels like the Dante series in many places, odd that it builds up but does not deliver in other places. Over all, I think one can find and feel Edgar's touch readily compared to the other solo stuff he has done. If the liner notes are right, it's a Edgar only thing. Else there is something missing. At least for me. Mood wise, this isn't a party cd, no Poland here. I am not sure where I would play this in a other than "listen to it". Not diner music, not background for a art studio, at least not for me. It's not a cd I would play to a first time listener either. Well, it's only 2 of 5 so far in this series. I still think, or should I say hope, the other 3 will move me a bit more. I noted a mention of media, hope of a video for this series is there too.
Mechanics of it, good. Good use of the samples and what synths there may be. I can not pull out what is sample and what is synth really in some places. I can hear some tweaks of the samples which is good. The sound is great. Plenty of time spent getting the levels just right. It's a good piece to use to show what a library can do. There are many other examples too out there. He might be using more than just the Vienna samples too or being subtle with synth work. Soft synth work, yea, you can hear fm7 or 8 in use, perhaps MMV and who knows what else, actual hardware, I almost want to say, other than a midi controller (hardware not hardware synth), no use of hardware synths. In other words, it feels all digital. It feels cold.
Maybe that was the intent? No warm fuzzy here for this one. Compared to other td works or should that be more solo efforts? I would give it a 7 out of 10. Ask me later if I adjust to it or not. It might grow on me like madcaps. I really am thinking, the other 3 will bring this up several notches when viewed as a whole.
I could take it all apart, track by track, sample by sample, but I think the overall impression is what I feel at this time with it should stand. No reason for tech here. I am thinking about pulling out a piece for the composition group to see what they think. Most there do not listen to TD or have little TD background, so a classical analysis might be interesting. I am sure, taken as a whole, all 5 parts will be excellent.