"Springtime in Nagasaki" is the opening chapter of Tangerine Dream's five-CD project entitled "The Five Atomic Seasons". which were commissioned by a Japanese survivor of the 1945 dropping of the first atomic bomb. The six tracks which feature on this release emerge from two larger works - ‘Navel Of Light’ and ‘Persistence Of Memory,’ which are both divided into separate parts.

"Soundmill Navigator", a Tangerine Dream Classics Edition, contains a vintage live recording from 1976, where the trio Baumann, Froese and Franke performed a concert at the Philharmonics.The almost 42-minute track finds the musicians in good spirits, as the set features lots of mellotron and antique sound textures, which are later on accompanied by some nice sequencing. Halfway, Edgar’s typical guitar soloing is added as well. Music wise, "Soundmill Navigator" the space ambient contains lost of elements and characteristics from their albums "Ricochet" and "Encore".

Featuring shorter compositions and an increasingly lyrical lexicon of electronic sounds, Le Parc has more in common with the burgeoning new age movement than Tangerine Dream's earlier, eerier work. The songs are essentially musical postcards from great parks around the world, though the focus is on the mood generated by these places rather than a literal translation of geographic qualities. Thus, "Yellowstone Park" is rendered with an American Indian spirituality, "Zen Garden" is peaceful and mysterious, "Central Park" highly stylized and danceable. Tangerine Dream's music in recent years had shifted toward more accessible and melodic arrangements, so coming from the vantage point of a Phaedra or Stratosfear, the music on Le Parc could be viewed as a considerable "dumbing down" of their artistic origins…

Andre Konchalovsky's 1986 film Shy People, would seem the perfect vehicle for a Tangerine Dream score. Alternately pensive and paranoid, full of taut drama and dreamy expanses as well as moments of true psychological horror, Edgar Froese, Christopher Franke, and Paul Haslinger not only scored the film, but produced and engineered the recording, too.

"Purgatorio" is the second part of Tangerine Dream's three part interpretation of Dante's "La Divina Commedia". Unlike the other two parts of the trilogy which were recorded live, this double CD set, running to over 130 minutes, is a studio recording. Once again (as with "Inferno"), the piece is primarily in the form of an oratorio, with seven guest female vocalists. These singers are a mixture of altos and sopranos, all with beautiful, classically trained voices.

This album is inspired by the history of the Hundred Years' War in the 15th Century, in which the brave and - in modern terms - emancipated young woman Jeanne D'Arc, the Virgin of Orléans, played an important key role. It is a musical hommage to the brave of this world and the principle of revolutionary thoughts and acts.
Jeanne D'Arc - the French heroine immortalized and appreciated in electronic music. This studio album was recorded shortly before the live concert in the Friedrichstadtkirche (French Cathedral) in Berlin in July 2005. Enjoy this exciting musical tribute.

Firestarter is an action-packed thriller with dark and sinister references. That description applies to the film and to Tangerine Dream's soundtrack. As a body of work, their film music is inconsistent and uneven. There are some outstanding scores and some real clunkers. This CD is a good one. The music has strong character and integrity and the classic TD sound with dark atmospheres.

In June 1999, Tangerine Dream performed a one-off concert during the Klangart Festival in Osnabrück in Northern Germany, presenting the then brand-new album Mars Polaris. The complete album was performed, though the track order differs from that on the album. The music performed is essentially identical to the studio versions, with some additional guitar and percussion work.

Stratosfear, the last Tangerine Dream album by the great Baumann/Franke/Froese threesome, shows the group's desire to advance past their stellar recent material and stake out a new musical direction while others were still attempting to come to grips with Phaedra and Rubycon. The album accomplishes its mission with the addition of guitar (six- and 12-string), grand piano, harpsichord, and mouth organ to the usual battery of moogs, Mellotrons, and e-pianos. The organic instruments take more of a textural role, embellishing the effects instead of working their own melodic conventions. Stratosfear is also the beginning of a more evocative approach for Tangerine Dream. Check the faraway harmonica sounds and assortment of synth-bubbles on "3 AM at the Border of the Marsh From Okefenokee" or the somber chords and choral presence of "The Big Sleep in Search of Hades"…

This was the first TD album to incorporate lyrics and vocals (from Steve Jolliffe, who also contributed wind instruments and keyboards). By this point, the nucleus of the band was down to Edgar Froese and Christopher Franke, with the sound centering more on shifting arpeggiation over percussive rhythm structures, with "Madrigal Meridian" being an impressive example of this. Jolliffe's vocal contributions on "Bent Cold Sidewalk" and "Rising Runner Missed by Endless Sender" provide an aggressive edge that effectively catapults the listener from the hypnotic pulse that Tangerine Dream are best known for - still, it's by no means a failed experiment, though it does make Cyclone one of the least useful TD albums for working up a good meditative state.

Phaedra is one of the most important, artistic, and exciting works in the history of electronic music, a brilliant and compelling summation of Tangerine Dream's early avant-space direction balanced with the synthesizer/sequencer technology just beginning to gain a foothold in nonacademic circles. The result is best heard on the 15-minute title track, unparalleled before or since for its depth of sound and vision. Given focus by the arpeggiated trance that drifts in and out of the mix, the track progresses through several passages including a few surprisingly melodic keyboard lines and an assortment of eerie Moog and Mellotron effects, gaseous explosions, and windy sirens. Despite the impending chaos, the track sounds more like a carefully composed classical work than an unrestrained piece of noise…

The Sessions VI contains a long instant live composition from the current Tangerine Dream line-up Thorsten Quaeschning, Ulrich Schnauss, Hoshiko Yamane and new TD member Paul Frick. This live session was recorded at the RBB Sendesaal in Berlin (November 3, 2018) during the Elektro Beats Festival organized by Radio Eins. Tangerine Dream are very much enjoying their new respectively revived concept of performing a so-called real time composition session at the end of their concerts.

Dream Sequence is an electronic wandering through this German band's most familiar instrumental endeavors. The two discs are made up of tracks stemming from such monumental albums as 1974's Phaedra and 1976's Stratosfear, merging right into some of their finest material from the early '80s. Fans of full-length Tangerine Dream tracks should take note that three of their most popular offerings are only excerpts, including "Rubycon Part One." The rest of the album is comprised of delightful synthesized washes that represent Tangerine Dream's mind-numbing electronic voyages, like the spaciousness of "Cloudburst Flight" or the finite complexity of "Logos Part One." Not all of their music basks in the coldness of keyboard machination though…

CD reissue of this title from the innovative German Electronica outfit, one of the most influential instrumental outfits of the 20th century. Tangerine Dream has never produced anything calculated to make the masses jump off their chairs and start screaming Top 40 tunes, but they have managed to have an immense impact in the world of Electronic and soundtrack music. Their studio, live and soundtrack releases have their own driving hypnotic pieces that might differ from release to release, but they are all uniquely Tangerine Dream. Personnel: Edgar Froese, Jerome Froese (guitar, keyboards); Zlatko Perica (guitar); Linda Spa (saxophone, keyboards). Recording information: Scottsdale Mall Amphitheater (1992).