By ProgBlog, Jan 25 2015 11:12PM
Edgar Froese, the founder member of Tangerine Dream died unexpectedly last week from a pulmonary embolism at the age of 70.
Froese was born in 1944 in a region of East Prussia (now the Russian city of Sovetsk) and settled in West Berlin where he went on to study art and sculpture in the mid-60s. He formed a Beat group called The Ones who toured widely playing songs such as soul classic In the Midnight Hour. It was during this time that he visited Salvador Dali at his villa in Cadaqués where he was inspired to reject the Anglo-American confines of popular music. On his return to Berlin, he dropped into the newly founded Zodiak Arts Lab and adopted the moniker Tangerine Dream. The first TD album Electronic Meditation, made with drummer Klaus Schulze, unconventional musician Conrad Schnitzler (who played dried peas, typewriter and manipulated taped sounds), organist Jimmy Jackson and flautist Thomas Keyserling, was not really ‘electronic’ but treated conventional instruments.
Their third release, Zeit, a double album from 1972, is a bleak, minimalist masterpiece from the rather dramatic cello quartet opening through to the very end. Based on the philosophy that time is motionless and only exists in our own minds, the shifting sounds, overlain and treated, make me imagine that I’m lost and alone in deep space. There’s a hint of strummed guitar in part 3 (Origin of Supernatural Probabilities) but, apart from the cellos, that’s the only discernible instrument; Zeit is also notable for being the first TD album that brought together seminal line-up of Froese, Christopher Franke and Peter Baumann.
DJ John Peel and Richard Branson were primarily responsible for the popularity of TD in the UK after Peel named Atem (1973) his album of the year and, following their signing to the fledgling Virgin Records, Phaedra (1974) reached no 15 in the charts despite only selling a couple of thousand copies in their native Germany. Despite Phaedra being my introduction to TD (thanks to school friend Alan Lee) I prefer Rubycon (1975) and, though I haven't heard Ricochet for nearly 40 years, I think I also prefer that to Phaedra.
Some commentators think that the term ‘progressive’ should not be applied to Zeit, partly on philosophical grounds – how can you progress if time doesn’t really exist? – but the output of the Virgin years is a maturing of the Kosmische sound that fully embraces the spirit of prog where the sequencer comes to the fore. Whereas Zeit with its subtle sonic shifts could be called ambient in the same way that Fripp and Eno’s No Pussyfooting and Evening Star are ambient, the subsequent TD releases are something more. I’m struggling to find a suitable term but I guess ‘atmospheric’ will do. Though inherently rhythmical, sequencers weren’t used to provide rhythm; their pulses weave in and out of the sonic washes like snapshots of important moments in time, mayfly fragments in the history of the universe.
The band may not have been virtuoso but that’s why they didn’t emulate British prog; they became virtuosos of technology and Chris Franke applied the influence of the minimalists and modern composer György Ligeti. Their use of haunting Mellotron flute is classic but they also used the instrument to great effect on Mysterious Semblance at the Strand of Nightmares from Phaedra to emulate staccato violin, something that contradicts the 'ambient' tag. In fact, their use of Mellotron is quite different from that of the symphonic prog bands, something I’d ascribe to the sonic territory that they inhabited. I’m one of those people who believe that the mid-70s TD were a defining sound of prog and rushed out to buy Rubycon when it was released. I loved the cover of Phaedra more than Rubycon, but the inside gatefold of the latter was brilliant, in gorgeous chocolate colours, with the cameo of Monique Froese. TD cover artwork was pretty special and as immersive as the music itself, another reason to define them as classic prog. Rubycon was an album that was fantastic for listening to in the dark, through headphones, a pure escapist experience whether you were exploring outer or inner space.
The next studio release, Stratosfear, makes too many concessions towards mainstream rock for my liking. Why on earth did Froese use a harmonica? Friend and Electronica aficionado Neil Jellis opines that Stratosfear is much more polished than their live material of that year or even 1977’s Encore. I think that the studio material is all very well produced but I’m not particularly au fait with the live material and interpret Neil’s comment not as a criticism as such, rather an indication that TD were becoming more industry-friendly. I imagine it was difficult to find new things to write in the idiom that they’d created. We both agree that Song of the Whale (from Underwater Sunlight) is their last great track and Neil points out that Chris Franke left the band one studio album later and believes there is a direct correlation between the (declining) quality of TD material and Franke's exit. He says there are long-standing rumours that Franke is sitting on a pile of live recordings from the 1970s and 80s. It may be that following the death of Froese there is a chance that these recordings may now see the light of day as the relationship between Froese and Franke was pretty poor following the latter’s departure from the band.
I was somewhat surprised to find that George Wells, one of my brothers-in-law, was a TD fan because much of his record collection was made up of Neil Diamond records! He’d been to see TD play live but as I only met my future wife in 1984 I’m not sure if he was present at the concert at the Fairfield Halls in Croydon (23/10/1975) where much of Ricochet was recorded. I didn’t mind buying him a couple of TD albums as birthday presents in the mid-late 80s before the disappearance of vinyl but I would have been embarrassed if I’d had to hand over money in a record shop for anything else he liked!
Edgar Willmar Froese b. 6 June 1944 d. 20 January 2015
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