mardi 26 juillet 2011


What is wrong with me? Why I am not enough satisfied by Tangerine Dream’s works or compilations? On Guts of Darkness ( there are a lot of diehard fans who find me unfair when I’m reviewing a new release from TD. Is it really me or...? Obviously, I looked somewhere else on the net to see of what fans and ardent supporters of the Dream thought of it; and wow, that hurts! A strong majority claim that it is possibly the best of this series and others affirm that Mombasa is an excellent, even a magnificent track. How could I hear it that way? Because I was not so infatuated by this Booster III and read why.Compilation pulled from those following 08-09 albums; Views from has Red Train ("Sound Of A Shell"), Winter In Hiroshima ("Nexuses", "Transition", "Key Moment" and "Ayumi Loom's" extract) and Chandra ("The Dance Without Dancers", "The Unknown Is The Truth" and "The Moondog Connection") as well as Mini Cupdiscs Fallen Angels(''Two Drunken Angels At Trafalgar Square"), Flame ("Morning Star", "Lord Nelson" and "Synth Affection") and Birds In Search Of A Cage ("Kiew Mission") and the single Das Romantische Opfer among whom 2 parts are interpreted in inverted order, Booster III offers also 5 unreleased tracks with "Mombasa", "Sunshift (Moonmother’s Mix) ", "Astrophel And Stella (String Version) ", "Remote Viewing", "The Halloween Cast" and "Kilimandscharo". I already see connoisseurs frowned and said; ‘‘But there are tracks that aren’t new ones at all! ’’ Exact, because only "Mombasa" and "Kilimandscharo" are real unreleased tracks, the others being only remixes. And those who read my reviews (still in French but one day all in English) about TD on Guts of Darkness know all the good and the bad I think about albums and Mini Cupdiscs listed higher. But a brief reminder will indicate you that I didn’t like at all Winter in Hiroshima, Chandra and Birds In Search Of A Cage, while Das Romantische Opfer pleased me a bit and Flame had pleasantly surprised me. Thus you see the rundown?
And if I started by talking about the new to say stuff? Let's go with "Mombasa". It’s a dark track which draws its origins on nasal synth lines and fine percussions to African flavours. The intro is particularly good except for choruses which remain as platonic as a cold distributing machine. On the other hand, Papy Froese exercises a beautiful control of his synth pads, which are rather sober, of which he does a skilful mixture with his guitar strata. The music is dramatic and increases gradually its level of intensity without really exploding, a little as on the Nagasaki albums where Edgar seems to want to keep any forms of explosive rhythms underground. In brief, it’s a long track in which the interest decreases with minutes hard to grape out. "Sunshift (Moonmother’s Mix)" was originally on Booster II. It’s a track that I hadn’t even noticed and which move on nervous sequencers, embracing the same endless structures that Edgar cheers for the last years where nothing is really going on and is original. A music with a pale rhythm where everything seems to lean on these damn mechanized vocalizes which remove any emotions out of those nice mellotrons, creating a sweet rhythmic paradox in a track of which the length has no justification. Third new release is "Astrophel and Stella (String Version)" and I got to say that it’s very good. It’s a nice remix which makes forget an insipid original nesting on an album to be forgotten and which takes a quite new form with its synthesized violins. I really liked "Remote Viewing" new mix. In fact, I quite like most of the retouches that Edgar is doing on TD’s original works. It doesn’t any harm. Even that sometimes it sounds better than the original as it’s the case here with a beautiful addition of percussions which suits quite well to the original sequences. It’s a nice remix that fills me well. Another remix that gives me an enormous pleasure is the one of "Kiew Mission" (I know, it is not a new released – as listed by Eastgate- but I want to speak about it) where I can finally appreciate the new mastering and the dust removal without getting stuck to myself with this damn mechanical voice which turns in loops on the very not necessary Birds In Search Of A Cage. These 2 remixes from Exit are particularly well done.
On numerous sites and Blogs devoted to Tangerine Dream, several fans describe "The Halloween Cast" as being Edgar's last wonder. Well diehards, I don’t want to upset you and be kind and pleasant to incur your sympathy but explain me what is so special about this track? After a droplet à la Meddle from Pink Floyd, choirs and whistling synth roam in a foggy before that the rhythm bites this funeral prayer. A tempo became cheerful where riffs of acoustic guitar are moulding to automatons keyboard keys which glean in a sound world stuffed with percussions. There are permutations in the rhythm which deviates towards a little Far West approach with nice guitar notes and a synth which whistles on the plain of percussions and sequences which tumble and tumble. In short, if we want to be honest, it drags on and Edgar looks like a one-man band with all these percussions (rather good I may add) which hammer a strongly orchestrated structure. But from there to shout to genius! There is a margin that I won’t cross. With its percussions slamming in a universe of mist, "Kilimandscharo" is of a beautiful melancholy. Edgar goes of beautiful guitar solos there to make dreaming on a structure used so many times by the same man. As if the originality and permutations in TONES was a thing that Edgar had left to his ex colleagues. Take ''Ayumi Loom's'' new version as example, it’s much diversified as in rhythms and orchestrations. When Edgar wants, he sure can!
In brief, Booster III ...well I’m looking carefully for my words but nothing comes in mind except that it’s an average compilation. How he could it be superior to Booster II when Thorsten Quaeschning (the new soul of TD which is not used enough) is not even there?


Sylvain Lupari (2009)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream

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