![]() ![]() He was very good on the engineering side, which helped us with the recording. We really wanted a more dynamic sound."Ĭhris Franke: "Johannes wasn't so much a synth player, so I taught him a lot about using MiniMoogs and things. When I came to the group, we tried a mixture of more structured elements, with more jazz‑orientated chords, composed melodies and some synthesizer solos closer to rock. Before I joined, the music of Tangerine Dream was basically built on sequencer loops, more or less in one key, with few harmony changes and long sessions of improvisation. "It seemed to be the ideal group to work with, as I could be composer, performer and sound engineer all in one person. Schmoelling has his own memories of joining the group. Froese recalls: "Johannes had remarkable concentration, and could work for long stretches of time". Edgar Froese had been very impressed with him when they had met at a Berlin theatre - at 29, Schmoelling was already an audio technician, with a degree in electronics, a background in piano and organ music, and a specific interest in sound collage. More important than the concert's location, however, was the fact that it marked the debut appearance of Johannes Schmoelling as a member of Tangerine Dream. Tangerine Dream began 1980 by being the first Western rock group to play on the Eastern side of the Berlin Wall (documented on the live album Pergamon, released in 1986). But the Mellotrons and MiniMoogs were still there". We got some more keyboards, and our big Moog modular was more stabilised inside - new oscillators came in, and new envelopes. The music was more heroic, a little bit like art‑rock again. The apocalyptic 'Thru Metamorphic Rocks' still sounds futuristic, even today.Ĭhristoph Franke recalls: "It was a new phase, more structured. On its release in 1979, this proved to be Tangerine Dream's return to form. Jolliffe was dropped, and the trio of Froese, Franke, and Krieger recorded Force Majeure at Hansa Studios in Berlin. ![]() Not surprisingly, no track from Cyclone appears on the Tangents boxed set. Jolliffe even sang - the first time there had been vocals on a Tangerine Dream album. But the new personnel and new instruments - a Roland guitar synth and multi‑trigger drums - did not save the album from sounding poor. Edgar Froese and Chris Franke drafted in old Berlin chums Steve Jolliffe (flute) and Klaus Krieger (drums) for the making of the Cyclone album in 1978. But tensions between Edgar Froese and Peter Baumann became unbearable following two extensive tours of the United States in 1977, and Baumann left to pursue a solo career in the Autumn of that year.īaumann's departure had serious repercussions for Tangerine Dream. Part 1 of this feature, in last month's Sound On Sound, recounted how the 'classic' Tangerine Dream line‑up of founder Edgar Froese, Christoph Franke, and Peter Baumann crafted famous albums like Phaedra, Stratosfear, and Rubycon using nascent, unreliable electronic technology. This is the last article in a two‑part series.ĭuring the 1970's, Tangerine Dream blazed a trail for electronic music with a string of hit albums that brought them worldwide acclaim. MARK PRENDERGAST concludes his history of the band, and looks at the effect they have had on the development of modern music technology. The recently released 'Tangents 1973‑1983' Tangerine Dream boxed set chronicles the 10 seminal years the German group spent on the Virgin label. ![]()
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