This is a satisfying ambient record from the pre-ambient era, too dark for meditation, and too good to be forgotten. The rest are vapors, your ears are sweating under your headphones, and the smoke has cleared from your bedroom. The piece evolves through varying degrees of tension, takes a pit stop on the shoreline of some faraway beach, then ever so gradually unravels a cluster of free-form strings and flutes. Rising out of the murkiness, the synthesizer arpeggios return to drive things along, and Froese weaves his backwards-recorded guitar through the web without really calling too much attention to himself. 2" opens in a wonderfully haunted way, like air-raid sirens at the lowest possible pitch, joined in unison by several male voices (someone in the band must have heard György Ligeti's work for 2001). 1" ebbs and flows through tense washes of echo and Mellotron choirs, as primitive sequencer lines bubble to the surface. The somewhat dated palette of sounds here never overshadow the mood: eerie psychedelia without the paisleys - Pink Floyd without the rock. Rubycon has aged gracefully for the most part, making it a solid companion (and follow-up) to their 1974 album, Phaedra. The three of them had been delivering mysterious space records on a regular basis, and their growing confidence with early synthesizers (the best that money could buy at the time) made them virtuosos of the genre, even as they kept things organic and unpredictable with gongs, prepared piano, and electric guitar. The artist, once torn apart by the media, doesn’t have the same luxury.Because many critics are quite cynical, here a word from Oscar Wilde: “A cynical critic is one who knows the price of everything and the value of nothing.”By the way, some time next year a documentary will be released featuring some of the most bizarre statements that the media has expressed about TD.The members of Tangerine Dream continued to hone their craft as pioneers of the early days of electronica, and the mid-'70s proved to be a time of prosperity and musical growth for the trio of Chris Franke, early member Peter Baumann, and permanent frontman Edgar Froese. There’s one thing a critic should always keep in mind: “If there is any real doubt as to whether or not an artist has delivered a true piece of work, it is better to vote for than against him why ? As a writer, you always have a second chance to correct yourself. A writers has an orgasm for 20 bucks per line – at the most. The way we hate critics for that gives them some inexplicable satisfaction. Very often some frustrated individual tries to save his artistic and philosophical integrity by tearing up a rock act or a theatre premiere with a pen. What I'll be listening to: - Every one of their studio albums - Their singles Ultima Thule, Das Mdchen auf der Treppe and DM 4 Bonus CD - Multiple live albums I've either deemed essential to their discography or. It’s best not to forget one important factor: they’ve gotten through one of the most uncomfortable experiences in life, the lack of acknowledgement in their own efforts to become a successful artist. I've created a bit of a challenge for myself, I'm going to listen to a Tangerine Dream release every day and place my thoughts here until I've finished all of their albums. Most critics come from the same background they now criticise. Is that odd? But one should never forget about the way most critics were before becoming critics. Unfortunately, in the public eye, the positive side of something isn’t half as interesting than dirtying someone’s reputations. Yes, definitely not everything that’s been written about us is crap and I’ve never claimed that it was. If you had to say just one good thing about the work of the professional critics, what would it be? Answered by Edgar Froese
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