1. Transition
  2. Ayumi's Loom
  3. Outlook
  4. Togetherness
  5. Echo of Light MP3 soundclip of Echo of light [3:01]
  6. Key Moment
  7. Insiders
  8. Nexuses
  9. Glowing Vision
Part of a five-album Tangerine Dream cardboard sleeve reissue series featuring the albums "Autumn in Hiroshima," "Cyberjam Collection," "Ocean Waves Collection," "The Silver Siren Collection," and "The London Eye."

"Winter In Hiroshima" – the fourth part of The Five Atomic Seasons is another document of the remarkable wide range of musical landscapes created by Tangerine Dream. Even if the music never left the sad background the story itself requires, the fourth season will explain some of the positive vibes which guide two protagonists far beyond the prevailing circumstances. So take over the positive energy filling this production in order to become part of an astonishing turn the story has to offer. Wintertime in its description here will move you gently away from the hopeless land of horror over to a new silver lining of new challenges within everybody’s day to day life back in 1945. Read and then listen to an outstanding hour of personal experiences.

Press Information Bought at Tangerine Dream’s Northeim concert, one week before writing this, and listened to, the following morning, I've gotten a positive acquaintance with this album relatively fast. Shortly after, it was used as a kind of soundtrack on my further journeys in Berlin, on a four hour river voyage and during my train ride back home. Therefore, the album has achieved a sentimental status for me, and will musically ignite inner images, directly opposite of the conceptual intention. Why? Because I will never read the story behind the album. That’s not only because it is hampered by the microscopic text in the cover, but because the ulterior motive of previous albums have dealt with a semi-elitist story line. By that I mean Chandra – The Phantom Ferry Part 1, but mostly obvious, Autumn Hiroshima. So, I'm thriving with the correlation of an electronic winter landscape and a blazingly hot trip on the Spree, as the music is so versatile, that you don’t have to read the booklet.

Autumn In Hiroshima is an introvert and almost merciless album, despite its, on the surface, calm appearance. I never got the chance to review that album, and possibly will not, as the music never offered itself the opportunity – contrary its two predecessors, that did take a years time, before I felt I could commit myself to write about those albums.
Winter In Hiroshima has its moments of clarity, and therefore also its pitfalls, that can be connected with words like "stagnation", "tedium" and at worst "triviality". But that assumption seems terribly unreasonable, as Edgar uses that to create dynamics into a unified whole, with few tracks on the album having the ability to stand alone. This means you get the feeling that this album consists of three sections, Transition, Ayumi’s Loom, and a last section with the remaining seven cuts:

We know Transition from the TDOC (Tangerine Dream Online Club) and the interview Edgar Froese gave to Olaf Zimmerman on Radio Eins Elektro Beats, the 15th July, where the track had its world premiere. It is a quirky, varied song with artificial nonsense vocals, and a catchy melody.
Ayumi’s Loom blew me away in Northeim and Berlin, where Bernhard introduced old-fashioned twang guitar to fulfill the sonic image, which completely lacks on this pure Edgar Froese album. But beautiful it is, and is the pinnacle, production-wise, on this album. The melody of the tune is like the shady side of Le Parc (L.A. Streethawk), catchy and sinister at the same time. Sounds of heavy metal doors being slammed, is a detail, which completes the track.
The last seven tracks is a long and winding road, and offer a distinct Asian sounding music, with a meditative solitary/spiritual form that seeks inwards.
Climax is reached in the final piece, Glowing Vision, which tickles one into putting on the fifth episode of the atomic seasons on the stereo, right away.

We have to wait some for this, though. We'll handle that okay, because despite the unconditional qualities of the album, it is Jerome Froese and Thorsten Quaeschning, who individually have to draw lots for, whether it is Vintage Vanguard or Natatorium that is album of the year.

Jacob Pertou / Danmark