PETER BAUMANN

Review Nº 802

Peter Baumann came to prominence as a key member of the German progressive electronic band Tangerine Dream, joining to Edgar Froese and Christopher Franke in the group in 1971 and making his debut presence on the third studio album of Tangerine Dream, "Zeit", released in the same year. His contribution was felt on the classic Tangerine Dream's albums released by Virgin Records issued between 1972 and 1977, "Atem" from 1973, "Phaedra" from 1974, "Rubycon" from 1975, "Ricochet" also from 1975, "Stratosfear" from 1976, "Sorcerer" from 1977 and "Encore" from 1977 too.

One of the notable contributions that Baumann made to Tangerine Dream was managing the commission and construction of their very large Projekt Elektronik modular synthesizer, and devising ways to use the synth in their compositions. Baumann had also his Moog modulars extensively modified, in part to make them more playable on stage without the use of as many patch cords. This was done in part through voltage busses routed through the case that could be sent to an input via an array of switches. So, Baumann made great contributions to the sound of the band.

In 1976 he embarked on a solo career with his classic work "Romance 76", an album that is now held in huge esteem by aficionados of German Electronic Music. His next work as a solo artist was the equally remarkable and ground breaking album "Trans Harmonic Nights", from 1979. This release pre-empted and influenced the protagonists of the synthesiser based music that would burst forth in the 80's. In the 80's he released two more albums, "Repeat Repeat" of 1981 and "Strangers In The Night" of 1983. He would return in this century with another album "Machines Of Desire" of 2016.

"Trans Harmonic Nights" is more pop orientated than "Romance 76", but remains an utterly charming slice of early ambient pop, with a sprinkling of acoustic instruments including live drums thrown into the mix. It's a good deal more minimalist in its arrangements and use of loops than Tangerine Dream's music of the same period, making it quite distinct from the classic Berlin School sound. So, the music on "Trans Harmonic Nights" is a further shift away from the heavy music of Tangerine Dream as Baumann continues to approach the melodic, minimalist music of Cluster, Kraftwerk, Jean-Michel Jarre, etc. In fact, you could see Baumann's brief solo career as a gradual moving away from Tangerine Dream's remoteness toward warm, romantic electronic music. That's not to suggest anything on Baumann's second album is in league with the new Romantic Movement. Rather, it's a refinement of the ideas espoused on the first side of "Romance 76", which is simple electronic sounds are built up in layers and infused with humanity and jollity.

The album opens with the razor edged electronics of "This Day". It introduces some of the elements that will appear throughout the album, like heavily treated vocals, simple layers and an almost lullaby like foundation. Particularly in the use of vocals, you get the sense that Baumann is trying to make a more human connection with his audience. "White Bench And Black Beach" is similar in design, slow and soothing in its own in a strangely luminous way. It has heavy bass and drums. "Chasing The Dream" contains a typical Tangerine Dream sequence. It recalls the sound of Tangerine Dream, showing that Baumann is more than capable of creating Tangerine Dream soundalikes. This is a track that fully shows its complexities. "Biking Up The Strand" has a happy, upbeat melody. It feels like an electronic waltz, and shows that Baumann's work is still at least partially grounded in classical structures, even as he streamlines the arrangements down to simple tracks. "Phaseday" is a bright and hopeful track, a kind of antidote to Tangerine Dream's murky vision of alien soundscapes with its pulsating sequence, Mellotron, and vocoder. "Meridian Moorland" is probably the album's darkest entry and feels uncannily familiar. It takes us into the dark forest with its eerie melody and its dark psychedelic, deeply unsettling sound. "The Third Site" is a continuation of "Meridian Moorland". It features a manic pattern similar to Cluster's more agitated songs. The album closes with "Dance At Dawn". It's his most classically inspired piece on the album, which prominently features horns and drums. It has a rapid percussive rhythm and synth trumpets sequenced.

Conclusion: The critical reaction to "Trans Harmonic Nights" is more or less divided. I agree that it's less impressive and substantive than "Force Majeuere" or "Tangram" or even "Romance 76" of him. But, those were all great albums, and "Trans Harmonic Nights" is, at least, a good album. Personally, I think there's an electronic efficacy to melody and simplicity. Despite "Trans Harmonic Nights" has more pop tendencies than "Romance 76", it seems to me recognizable that Baumann had a significant influence on "Stratosfear". Many sounds and patterns of that era can be heard on this album in a modified and lively form. So, while not as essential as "Romance 76", "Trans Harmonic Nights" has its key moments. This is an album that shows Baumann transforming and trying, for lack of a better word, to "synthesize" the vibe of the times. So, this is an interesting release for fans of vintage electronic music and Tangerine Dream's devotees.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 793

From 1971 to 1977 Peter Baumann was a member of the legendary German progressive band Tangerine Dream, the inventors of the electronic music that became known as the "Berlin School". So, Baumann was a member of Tangerine Dream during its influential 70's period. Baumann was on board with Tangerine Dream for the albums "Zeit" from 1972, "Atem" from 1973, "Phaedra" from 1974, "Rubycon" from 1975, "Ricochet" also from 1975, "Stratosfear" from 1976 and "Encore" from 1977, which are considered by most Tangerine Dream's critics to be among the group's best works.

Peter Baumann was born and lived his youth years in West Berlin, at the time when the city was still partitioned in the aftermath of World War II. A classically trained performer, he performed in cover bands as a teenager and formed his first rock band and appeared in a series of short lived groups before joining Tangerine Dream in 1971. In that year, he befriended Chris Franke, and Franke invited him to join Tangerine Dream. With only a few temporary breaks, Baumann remained with the project of Tangerine Dream for seven years, expanding the new parameters of the electronic music.

While a member of Tangerine Dream, Baumann released his first solo album, "Romance 76", which as the name suggests was released in 1976. "Romance 76" heralded a move toward electronic pop structures. He left the group in the next year, releasing three additional solo albums between 1977 and 1983, "Trans Harmonic Nights" in 1979, "Repeat Repeat" in 1981 and "Strangers In The Night" in 1983. In 2016, Baumann released another album "Machines Of Desire".

"Romance 76" is very much what you could expect. This is typically German 70's electronic progressive music, with similarities with what Tangerine Dream was doing around the same time. "Romance 76" is a window to the young musician tick as an artist. The album is effectively split into two halves, melodic electronics on side one and moody, quasi classical music on side two. There are moments when the music recalls Tangerine Dream, but it also reminds me of Cluster, Kraftwerk and even Klaus Schulze. So, if you came into this expecting to hear Tangerine Dream, it's more than that. This is a well crafted album that uses electronic sounds in a surprisingly melodic, direct and enjoyable way.

The title track "Romance" reminds me slightly of Vangelis in the time of "Spiral". However, the similarities disappear when the typical Tangerine Dream's Mellotron starts. The main theme of the track is played on piano and I can't actually remember that instrument being used on any of Tangerine Dream's 70's albums. "Romance" sounds much more like Cluster than Tangerine Dream. "Bicentennial Present" and "Phase By Phase" sound much like Tangerine Dream's "Stratosfear", from the same year, which isn't a strange thing, really. So, of course, both tracks are excellent if you're into this kind of progressive music. "Bicentennial Present" introduces Baumann's affection for simple, heroic melodies and streamlined arrangements. In some ways, we may say it anticipates the Tangerine Dream to come, whose music grew increasingly more direct and melodic with time. "Phase By Phase" meanders a bit in the middle, but otherwise does a nice job of showing off Baumann's darker side while making efficacious use of electronic beeps. The side 2 of the LP consists of a long suite, a trilogy from the two parts of "Meadow Of Infinity" and "The Glass Bridge". Instead of electronics, it starts with strings and dark choirs. Here, Baumann unveils his more serious and classical side. Baumann experiments with a real orchestra, choir and percussion on parts of this suite. "Meadow Of Infinity, Part 1" introduces simple cellos and voices that create a Carmina Burana effect, ultimately ending in a frenzy of tribal drums. The suite is broken up in the middle by a percussive and mystical part "The Glass Bridge", where Baumann manages to make some haunting atmospheres. "The Glass Bridge" utilizes cellos, violins and the bass guitar to create modern classical music. "Meadow Of Infinity, Part 2" merges synthesizers, classical instruments and some clever headphone mixing for a trippy, classy ending to the album. The highlight of the whole album comes when the suite builds up to an orgasmic Mellotron finale with a Mellotron sound that only a member of the classic Tangerine Dream's line up could have created.

Conclusion: "Romance 76" remains pleasantly complementary to the work of Tangerine Dream. After all, there's no lack of original Tangerine Dream's albums to choose from, and if Baumann had simply sought to make the same kind of music, it would have been just another Tangerine Dream's album and, perhaps, not a very good one. Instead of that, "Romance 76" is a very good Baumann's album, probably the best he ever made. It may not mark the beginning of a lifelong love affair with Baumann's music, but it still is a very decent work and a great representative album of 70's German progressive electronic music. Baumann's ability to coax a piece of music to life and infuse it with emotional resonance is what makes exploring this album a challenging and ultimately deeply engaging work. So, this is a nice addition to any Tangerine Dream fans collection and to all listeners of the 70's progressive electronic music in general.

Prog is my Ferrari. Jem Godfrey (Frost*)

Peter Baumann - 1979 - "Trans Harmonic Nights".

In between experimental and straight progressive electronic ideas splashed with the inevitable drum/boxes and CASIO mini-keyboard like sequences and Mr. Baumann's early compulsive obsession of building melody lines at all times, which is kind of a trademark in him, but becomes an obstacle to the far more daring electronics which actually steal the show, outweighting in creativity the "sweetness" and irredeemably cheesy melody riffs which fill most, if not almost all, of the tracks.

A couple of microscopic highlights emerge here and there intact but the rest is subdued or reduced to a simplistic and excuse my words, foolish, musical expression.

Peter Baumann's comic sense of irreverence kind of saves the day, but then again his melody lines are not that attractive as to toy around with them.

I had great expectations set in this release, due to its date, but some stuff is no good, no matter when or where...DAMN!

**2 "for T.D.'s or DisneyWorld's X-treme fans only" PA stars.

Without any kind of high expectations but totally open to its offerings, I waited for this 2016, once a Tangerine Dream's "dreamer" (1972-77), Peter Baumann's fifth solo project "Machines of Desire".

Good ideas that never seem to take off. Its music composition, although identifiable, sounds dated, a bit too much, as to move along its own comfortable zones to the point of predictability, which may be the reason why it scarcely goes beyond those launching pad borders.

As for TD's hard core fans this release will throw them back in time to those early days, less the experimental side, the good side of this is that it delivers here and there some nice and catchy melody lines (i.e."Ordinary Wonder', track 5).

As for me, eventhough it has some "nice moments", its predictable approach and its dated sound, as its "fear of heights", will hardly rate above the 3 stars mark, therefore it will be easily lost in the crowd of so-so progressive electronic albums.

2.9 PA stars.

This is the first Peter Baumann release after Tangerine Dream, I think it reflects what he was adding to TD, the melodic lines and the sounds of the synth leads. The first side starts with Bicentennial Present that is really in the TD way of doing things but with a bigger melodic develop and clear simplicity, the second Romance it has a more catchy mood it runs with two sequenciers and adding the melody above passing from one sound to another really in the TD textures but more plain less obscure or mysterious than previous works, the last track of this side Phase By Phase is in the same line than the others two may be tents to a little climax and then it fades out. The production is excellent every thing sounds so net and clear, it's seems more individual rather than epic or for big audiences project, may be the reason why he left TD before several times, one of those Michel Hoering had replacement he for Australian Tour cause Peter was involuted in a trip to Nepal, and something of this you can notice in this album stepping way of the rock system and looking for more personal or spiritual resources. The second side of the album, I do have the vinyl that still sound great, it's goes more mystic the name of the two parts pice is Meadow of Infinity with a sort of interlude between call the Glass Bridge. The first part it goes slow all with Philharmonic sounds and little electronic and it's conducted by H Baumann that I think is the same Peter Baumann only with the H of Hans that it's his first name. Even that this side is darker than the first still it has same clarity in the arrangements, the second piece of this side speed up with the sounds of toms and voices above. Then still percusions and some strings and oboes to add tension that leads to a kind of climax. The percusions back very low mixing with electronic percusions and now the sounds goes mellow and electronic, till the voice chorus back and starts the second part of Meadow of Infinity with the sound of mellotron leading the rest and directing to a kind of if not epic but meaningful end. I do appreciate the effort of trying to exposure his personal vision of what music have to express, the beautie of the first melody The love feelling of the second that may be don't have it's place when you play with a band, the warm of the analogical synths. I think this album it's better than most of the TD of the eighties, reflects serenity but not in a easy way, and have all the character of that era (combination of instruments and ideas) that made now classical and unique. It worth four stars

I spent many years procrastinating on getting Romance 76' . I like his follow up Trans Harmonic Nights better only because it was a pleasant progressive electronic album with very nice production and sound, especially the vinyl from Virgin, so I thought as this was released earlier and being his debut it would be more abstract and obscure. Well unfortunately it is neither and largely a poor album. I can see perhaps why he parted ways with TD as his music always hinted at more commercia,l even disco electronic sounds, reference the similar yet awful Romanelli from the early 80's. In terms of highlights on this album not many but would single out the second side " Meadow of Infinity" if for nothing else for extended sound sequencers and some unpredictable soundscapes. A major disappointment and I should have stayed with my gut instincts of procrastination. For collectors only.

On his second solo album, Baumann shows his cute sense for rhythm and playful melodies again. It still sounds very 1976 Tangerine Dream but at the same time it has learned a trick or two from the Kraftwerk synth pop sensibilities.

The opening This Day is a gentle piece that brings together Kraftwerk's minimalism, TD's melodious qualities and a hint of Schulze's lush textures. Also Chasing the Dream is a delightful and catchy tune. The next piece of note is Meridian Moorland which could have come right off TD's Stratosfear. The Third Site is the best track here, similar to Kraftwerk's minimal techno again but with more melody. Name it Kraftwerk for beginners.

This album is slightly derivative of Bauman's own TD past but it's a pleasant electronic album. 2.5 stars.

Romance 76 gives lot of evidence of how big Baumann's influence was on Tangerine Dream. While Froese's Macula Trancefer of the same year still harkens back to the sound palette and krautrock of earlier years, Baumann's first solo album sounds as fresh and crisp as Stratosfear. Therefore, this album comes recommended to all fans of "Stratosfear" and "Encore". The main difference with Tangerine Dream would be that this work is lighter and brighter, there's a playfulness in some of the tracks that brings us closer to Kraftwerk then to the seriousness and darkness of Tangerine Dream of that era. I will follow the general consensus here. This is a good album that every TD fan would want to seek out, but it's not mandatory if you're only casually interested by the Berlin school of electronic music.

Peter Baumann (ex-Tangerine Dream) released a handful of solo albums during the late 70's. This compilation is an honest recapitulation of his career, delievering the best from his first Romance 76 to Trans-Harmonic Nights (1979) and Repeat-Repeat (1981). The musical aesthetism and style include a lot of variety and specific moods, sometimes very closed to TD's spaced out kosmische leads and sometimes closer to clinical, cold electro pop. The album starts with the disconcerted part of his work with the kitschy, almost dancing disco-like Repeat Repeat. Hopefully we have rapidly the pleasure to re-listen to the introspective, delicate and shimmering electronic piece This Day (from Trans-Harmonic Nights) with its icy hpyno-minimal patterns, serene and deep melodic waves. Clearly one of my personal favourites from Baumann. This album also includes the majestic-experimental epic Meadow of Infinity I & II (originally released in Romance 76). The dense, enigmatic and ambiental invokation Phase by Phase is also included. An interesting selection that stresses Baumann's sense of musical ecclectism.

A familiar Tang

In 1977, Peter Baumann left Tangerine Dream intent on pursuing a solo career. About a year before he did so, he released his first solo album while still a member of the band. "Romance '76" feels very like a Tangs solo album, in that it has the sound of one of the multi-track channels recorded by the band around this time. The structured layers of TD's albums are replaced by single synthesiser soloing, with appropriate rhythmic support.

The album has six tracks, three on each side. "Bicentenial present", "Romance" and "Phase by phase" are all stereotypical TD pieces, the slightly sparser arrangements not creating any discernible difference overall. The music is pleasantly diverting with trademark repetitious rhythms and sound which at the time were still relatively new and exciting. There is a slightly underdeveloped feel to these pieces, their brevity in TD terms perhaps implying that Baumann needed the other band members to bring out his compositions to the full.

The second side is effectively a side long suite in three movements, the two parts of "Meadow of infinity" book-ending the brief "The Glass Bridge". The first part of "Meadow of infinity" was the only part of the album not recorded in Berlin, the recordings for this section taking place in Munich. This allowed Baumann to call upon the assistance of members of the Munich Philharmonic Orchestra, conducted by one H. Baumann. The piece has a quasi modern classical feel, predating by a couple of decades Tangerine Dream's forays into such areas on the "Dante's inferno" trilogy. While the music here is less accessible, it is bolder and more experimental. "The glass bridge" is aptly named being a delicate, flute like link between the two main sections. The closing part of "Meadow of infinity" has the most symphonic atmosphere of the album, the multi-layered synth and mellotron like strings creating fine washes of sound.

In all, a decent statement from Baumann, who simply demonstrates that he can create Tangerine Dream like music single handedly. Subsequent to this album, which understandably sees Baumann sticking to the formula which brought success to the band he was in, he started to move towards dance and pop. This therefore is the best of the bunch as far as his solo output is concerned.