MICHAEL HOENIG

It's all here: the sequencer patterns; the haphazard soloing; the gentle washes of Mellotron; even the occasional stray guitar riff...every element mechanically reproduced not only in the same cosmetic style but apparently using identical instruments and settings. I can only imagine Edgar Froese shaking his burly head and (hopefully) regarding the effort as a really sincere form of flattery (rather than grounds for litigation).

On a purely superficial level the results are not unpleasant, but at no point does the album show even a trace of the uncanny magic of its obvious role models. Programming a sequencer will always be a lazy way to compose music, but in the hands of an innovator like Froese, Chris Franke, or (maybe especially) Klaus Schulze the results can be stunning. Unlike the rudimentary arpeggios heard on this disc.

And Hoenig was never too comfortable with improvisation, apparently needing endless weeks of rehearsal before stepping foot on stage or in a recording studio. That lack of spontaneity previously capsized a planned collaboration with Klaus Schulze (the duo was to be named Timewind; see the biography on the KS website for details), and the same deliberation had pretty much the same effect on Hoenig's debut solo album as well.

Half a decade earlier it might have left a deeper impression. But by 1978 the so-called Berlin School of electronic music had already begun to lapse into predictable formulas, and this album only hastened the process. I don't mean to sound entirely flippant here, but when you separate the Dream from the Tangerine what's left is only a bowl of fruit, easily spoiled.

The cover art, however, is lovely, and arguably worth owning all by itself.

Departure From the Northern Wasteland is purely and electronic album of the highest caliber, but the way the longer compositions flow is leaned heavily into the way that bands like Genesis and Renaissance progress in their own songs. Adding to the rock without rock instruments tone to this album is the very immediate and demanding sound of the dynamic synth basslines that sound somewhat organic (though still very obviously synthetic).

The title track, at just over 20 minutes, is the headpiece of the album and is delightfully progressive. Where some Berlin school style long form compositions can sound very convoluted after the first few minutes, this track adds many layers atop one another but still maintains an open area to rest the ears. The atmosphere is very dark like setting off on a long voyage during a day with a dark gray overcast of clouds with thunder rumbling in the distance. The sound of this entire album is rather earthbound than most Berlin school style albums. "Hanging Garden Transfer" follows in the same atmosphere, but has much more urgency to it.

"Voices of Where", though one of the two shorter tracks on this album, is very beautiful. It's very light an airy with a light wavering sound that you'd expect from a mellotron. Because of this, it sounds similar to the short bursts of beauty found on the interludes on various Genesis albums. "Sun and Moon" ends the album on another bass driven Berlin school style track with a slight feeling of accomplishment and hopefulness.

Departure From the Northern Wasteland is one of the most interesting and compelling progressive electronic albums that I've heard from an artist that has remained mostly obscured. Anyone interested in this genre should take out some time to experience this album; I assure you that your efforts will not be wasted, especially if you're already a fan of ethereal symphonic prog.

Even though my record collection back then included albums by Yes, Pink Floyd, Kansas, Crack the Sky, and even Vangelis, I was not yet a self-acknowledged prog-head. I listened to the promo once when it arrived, had a neutral opinion of it, and added it to my stack of 45s, where it remained neglected for decades.

When I finally listened to it again, as a fully-fledged prog-head, I was extremely impressed. The record had two excerpts from the title track, and excerpts from "Hanging Garden Transfer" and "Sun and Moon". It prompted me to buy the LP, which I finally found in a used record store. Upon listening to the LP, I was astounded.

The track "Voices of Where" prevents this album from achieving 5-star status. I think it was no accident that the promo omitted an excerpt from this song. The odd vocals at the end are very out of place. But that is the only negative comment I have about this album.

The music is beautiful, relaxing, and timeless. It captures the imagination. I echo my roommate's advice from long ago ? you will not be disappointed.

The title track is undoubtly the highlight of the disc. Perfectly sequenced, synthetizers' themes evolve slowly and superposing mellotron waves reveal magic and crystalline landscapes. The song fades away softly during its final part. The tune could have well figured on a Tangerine Dream release. The next track, Hanging Garden Transfer, displays a much faster, colder and more robotic sound. There are truely very trippy and catchy passages in it. Voices Of Where arrives as a surprise, as it features no rythm and hardly no sequencing at all, mainly mellotron and backing vocals. The tune is relaxing but is also the weakest of the album, as it tends to be repetitive by moments. This is easily catched up with the ending track, Sun And Moon, which brings the sequencer back. It is at first glance reminiscent of Ashra's New Age Of Earth. Then keyboards become more energic to offer a quite enchanting and spacey futuristic conclusion.

Not terrificly new but very inspired, Departure From The Northern Wasteland is quite similar to the albums from the classic Tangerine Dream line up with Baumann. It was released the same year the band tried to change their sound, to create something else. However, this album proves that Michael Hoenig can rank among the best electronic progressive german musicians. It's a pity he hadn't recorded more albums (the next one, Xcept One, is rather deceiving). Highly recommended to TD fans !

The record opens with the title track, which starts good, but become quickly repetitive and uninspired. Bones on the Beach is one of two worthy passages here, with its mysterious atmosphere, its pulsing keyboard and its catchy melody, in the vein of Tangerine Dream's Underwater Sunlight's songs. The calm comes back with the small ambient piece Forgotten Thoughs, which is not bad, but not good either, in fact not very original for the late 80s. The next track, Scatter part I, is the most dated, repetitive and irritating of the disc. The minimalist composer Harold Budd participated to the composition of Spectral Gong. The result is a quite relaxing tune. Again, anjoyable, but not terribly new. The album concludes with its other worthy moment, Scatter Part II, undoubtly better than Part I. This fun theme could have well been used for a video game.

With Xcept One, Michael Hoenig delivers an album containing hardly half good and half bad electronic songs. Better go with Departure From The Northern Wasteland, far more enchanting and far less dated... 2,5 stars

When band members decide to go solo or to make a solo album while remaining in the band, it is normally because they want to explore alternative musical avenues. Perhaps their submissions have been rejected by the band because they do not fit in with the sound. Perhaps they simply want to make the jazz/pop/rock etc. album they've always felt was in them.

Not so it seems with Tangerine Dream. Although Hoenig was only a member for a brief time, "Departure from the Northern Wastelands" is a perfect facsimile of a Tangs album by any other name. The title track, which occupies the whole of side one of the LP, even has the same type of structure as pieces such as "Rubicon", with a mellow, floating start leading to a repeating trance rhythm and extended synthesiser improvisation. The sound is pleasant, indeed highly enjoyable, even if the over riding impression is one of heard it all before.

Side two has a further three tracks, of which "Hanging garden transfer" is simply a continuation of side one, running for a further 10 minutes. Only "Voices of where" attempts to break the mould, the processed vocals sounding rather out of place. Normal service is however resumed with the closing "Sun and moon".

Those who enjoy the music of Tangerine Dream, especially their mid-late 1970's period, need have no worries about enjoying this album. It is to all intents and purposes a Tangs album.