Stratosfear is the eighth major release and seventh studio album by the German group Tangerine Dream. The LP reached No.39 in the UK, in a 4-week chart run, and eventually reached silver status for selling in excess of 60,000 copies (£100,000+).

In 1973, Mike Oldfield burst onto the British music scene with his debut album Tubular Bells, two long instrumental suites in which Oldfield stitched together a series of melodies into a grandly scaled work in which he played the many instruments himself. The album was an audacious beginning to a career than saw him become one of the most respected artists in progressive rock, as well as a successful film composer. The Complete Mike Oldfield is a collection released in 1985 which features selections from his first ten solo albums, as well as highlights from his score for the film The Killing Fields.

While it can be easy to dislike and dismiss some cookie-cutter electronic music, the challenge lies in finding reasons to listen to it again. Such is the case with Revolutions by Jean Michel Jarre. One reviewer wrote, simply, "(This) is not revolutionary." That is true; Jarre breaks no new ground with the release of this album. He does, however, continue to create original music in his own style. He is often imitated and that is the sincerest form of flattery. This album features ten short pieces (five minutes and 22 seconds is the longest) of pop influenced e-music. This disc neither challenges nor offends the listener. It has its moments but it neither soars nor plunges. Of course, die-hard Jarre fans will love this disc. Fans of Synergy, Char-El, Klaus Schulze, and Ashra will like it.

As the follow-up album to Oxygene, Equinoxe offers the same mesmerizing affect, with rapid spinning sequencer washes and bubbling synthesizer portions all lilting back and forth to stardust scatterings of electronic pastiches. Using more than 13 different types of synthesizers, Jarre combines whirling soundscapes of multi-textured effects, passages, and sometimes suites to culminate interesting electronic atmospheres. Never repeating the same sounds twice, it is obvious that the science fiction hype of the late '70s played a large part in the making of this album. Computerized rhythms and keyboard-soaked transitions scurry by, replaced by even quicker, more illustrious ones soon after. There is always a pulsating beat or a fluttering tempo happening somewhere in each of the tracks, which are titled as a numbered sequence one to eight…

For fans of Jean-Michel Jarre, Chronologie contains more of Jarre's proven ability to blend familiar sounds in the New Music tradition into unusual, inventive compositions. The uninitiated will find Chronologie's blend of 19th Century classical musical themes with pop, rave and rap sounds downright danceable. Many of the pieces begin with a classical sound - in one song it's deeply resonating pipe organ - and almost invariably pick up the tempo quickly and slide right into a Gloria Estefan beat.

The second of two collaborations with Kevin Braheny inspired by the desert, this album pays homage to the Edward Abbey book of the same title. It inadvertently became a memorial to that Southwestern nature writer when Abbey died shortly after the music was recorded. Featuring some powerful work by Michael Stearns, this album taps into the psychological depths of stark Southwestern landscapes through a subtle set of soundscapes depicting the hidden dangers, unseen gifts, and intoxication that the desert promises.

The Light of the Spirit is one of Kitaro's best CDs. Perhaps it is because Mickey Hart co-produced, or perhaps Kitaro asked Hart to co-produce because it is so good. It doesn't really matter if either of those is the reason; this is just an awesome CD. Kitaro's specialty has always been the symphonic synth and this is no exception. He augments that synth with several guest musicians on a variety of ambient instruments. This is truly ambient music, albeit on the new age side of that style. The vocal accompaniment by Lynn Ray and Jeannie Tracy counts as instrumental as well. The sound design treats the wordless vocals as an extra sound to incorporate. David Jenkins contributes a smoking electric guitar that gives this rock & roll textures as well. This disc stands proudly with work by Constance Demby, Vangelis, Suzanne Ciani, and Dean Evenson as some of the best adult contemporary instrumental new age music.

Rubycon is the sixth major release and sixth studio album by German electronic music group Tangerine Dream. It was released in 1975. It is widely regarded as one of their best albums. Rubycon further develops the Berlin School sequencer-based sound they ushered in with the title track from Phaedra. Although not quite matching the sales figures for Phaedra, Rubycon reached number 10 in a 14-week run, their highest-charting album in the UK.

Phaedra is the fifth major release and fifth studio album by German electronic music group Tangerine Dream. It was recorded during November 1973 at The Manor in Shipton-on-Cherwell, England and released on 20 February 1974 through Virgin Records. This is the first Tangerine Dream album to feature their now classic sequencer-driven sound, which is considered to have greatly influenced the Berlin School genre. The album marked the beginning of the group's international success and was their first album released on the Virgin label. It achieved six-figure sales in the UK, reaching number 15 in the UK Albums Chart in a 15-week run, with virtually no airplay, only by strong word of mouth. It also earned the group a gold disc (500,000 copies) in seven countries, though in their native Germany it sold barely 6,000 units.[8] The album title refers to Phaedra of Greek mythology.

The music that Chicago-based producer/composer Angel Marcloid makes under the new moniker Nonlocal Forecast distills her experimentation in the prog, jazz fusion, and new age disciplines into pristine instrumental compositions teeming with intricate harmonic structures and complex webs of programmed percussion. Orbiting as another satellite around her genre-obliterating flagship projects like Fire-Toolz and MindSpring Memories, Nonlocal Forecast centers Marcloids practice on a palette of technical leads and atmospheric MIDI synth arrangements.

London-based producer Ulrich Schnauss and Danish guitarist and producer Jonas Munk have both unfolded their unique visions of electronic music over the past two decades, and they have been collaborating since the mid-2000s. Eight Fragments Of An Illusion is their first album in over four years, their third overall. The latest effort is ambient and introspective in nature, but with a kinetic, polyrhythmic energy pushing it forward. There's a floating quality to Ulrich's synthesizer washes and Munk's guitar patterns, yet the eight tracks are anchored by pulse and compositional direction. The duo brings their individual strengths to the table, yet the music transcends any of their previous work conceptually. There are echoes of blissed-out new age music and kosmische from the 1970s and 1980s, as well as traces of shoegaze-era abstraction and leftfield electronica. But ultimately there's no off-the-rack category that fits it. It exists in its own rarefied space.

In late 2003 TD surprised their fans with the announcement of Rockface, a live recording from the 1988 North America tour. The double album was finally released on December 18th, 2003 and features a virtually untouched soundboard recording of the third-last gig of that tour, recorded in Berkeley/San FranciAfter several bootlegs and fan releases this album is the first official recording from that tour featuring the short-time line-up Froese/Haslinger/Wadephul. The sound quality is excellent for a live album, though not always studio standard…

Summer In Nagasaki is the second part of the so-called "Five Atomic Seasons". The compositions reflect the experiences Mr. H.T. - an 82 year old Japanese business man - made during the time of the atomic bomb dropping in summer 1945 in Japan. This dramatic incident coincided with the relationship to his early love - his student fellow named Ayumi - who had no chance to survive that horrible attack. H.T. was so heavily shocked that he decided to abandon the world by going into a monastery. The music - written as one long track of 54 minutes - dramatically describes a part of his life and destiny.

Autumn In Hiroshima is the third part of 'The Five Atomic Seasons'. A musical journey accompanying Mr. H.T. to an old Zen Monastery where he is living for a short period of time and getting introduced to the secrets of life and death. Within this rather unemotional period he learns about the contemplative views which he has to develop within himself in contrast to the desastrous life out there everybody is confronted with in these days. Instead of giving up hope after the blasts he feels an enormous energy and change of consciousness which guides him directly to something very strange…

In 1992 one more Compilation was released with well-known music from 'The Pink Years' and 'The Blue Years'. This compilation contains no new material; the music material on disc one is absolutely identical to the 1989 Compilation The Best Of Tangerine Dream.