EDGAR FROESE

One of the true original psychedelic trippers in the world of progressive musical expressions, EDGAR FROESE is a legend having formed Tangerine Dream back in 1967 and remaining the only continuous member of the long running act until his death in 2015. Originally born in Tilsit, East Prussia which became the Kaliningrad region of modern day Russia (the city of Sovetsk) in modern times, FROESE was born during the second world war and did what a lot of his generation of Germans did and that was namely escape the horror of it all through sound.

In addition to the vast wealth of recordings put out by Tangerine Dream (well over 100 studio albums), FROESE has also released several solo albums over the course of several decades beginning with this 1974 debut AQUA. Recorded simultaneously with Tangerine Dream's classic release "Phaedra," AQUA was created in Berlin throughout 1973 - 74 and was basically made in the hopes of earning enough revenue so that the parent band could invest in the newest and most sophisticated equipment. Having been launched into the limelight in the worlds of progressive rock and progressive electronic with Tangerine Dream's mass appeal, FROESE received an advancement and immediately went shopping.

Unsurprisingly AQUA engages in the same surreal vortex of swirling synthesizer sounds, layers of abstract atmospheres and engaged in the musical equivalent of a helium balloon finding itself liberated from the gravitation constraints of the Earth's clutches. The original album from June 1974 actually found two separate releases on different labels. Each release featured a different version of the album therefore the Brain Records edition released in Germany and the Virgin Records edition released in the rest of the world featured different track orders, two completely different mixes of "Panorphelia" and "Upland" and a cover album inversion with one basically being the 180 degree rotation of the other. It's safe to say though that these minor differences don't necessitate experiencing both versions as they are negligible.

If that wasn't enough the album was re-recorded and re-released in 2005 and there exists a French version titled "Aqua II" Oh, brother. The album is notable in that FROESE engaged in experiments with artificial stereo where two microphones were placed inside the ears of a dummy head and then was recorded in a manner in which a real human would hear the sounds. This supposedly improved the stereo effect and created a more realistic 3D sound but given the abstract nature of the progressive electronic realm, this excessive nerding out goes above the heads of common music lovers who aren't obsessed audiophiles searching for the holy grail of recording techniques. While considered a solo work, FROESE was joined by fellow Tangerine Dream member Chris Franke who plays moog on a few tracks.

As far as 70s progressive electronic in the Berlin School style are concerned, AQUA is a totally listenable and quite enjoyable edition to any electronica freak's overall collection but it really doesn't substantially deviate from the Tangerine Dream playbook which one would hope for considering this would be FROESE's opportunity to deviate from his main band's signature sound so i wouldn't call anything about AQUA utterly essential but it's certainly a worthy slice of prog electro to experience. It features the usual bumpy ride synthesized sequences that simulate percussion along with all the glissando note glides and wobbly sound effects that are associated with the Berlin School. It's vocal-free, drum-free and devoid of any instrumentation other than the electronic synthesized sounds. It's definitely worthy of a trip beyond the confines of rock music but is a rather generic representation of the greater prog electro continuum that even by 1974 had amassed an amazing array of diversity.

German keyboardist, composer & electronic wizard Edgar Froese was, of course, founding member and long-term leader of the notorious collective of experimentalists Tangerine Dream. Let us be clear, this album sounds so obviously connected to the T.D. works of the era (mid-seventies) that, if you heard and dislike, e.g., "Rubycon", then there is probably nothing for you in "Aqua" either.

The sonic materials assembled here for listener's immersion in an acuatic, and very relaxed world, are so typical of the period, that you barely may have other choice than: a) turn yourself in and enjoy, or b) run away for some more rocking listen. Analog sequencers mutating subtle and gradually signature, accent and dynamics. Also layered synths spread over unendless droning. Fantastic sense of cohesion in the long-scale form. Sensational taste for harmony, too. A perception of water unlike any liquid can possibly provide.

It has been a personal dilemma for me to find out why Edgar Froese without TD does not tickle my fancy. (And I´ve tried & I´ve tried...)

Edgar Froese- Macula Transfer (1976) has shown me why.

Even though Mr. Froese was and would be a notable figure in the electronic music fields, he tended to get stuck in his magnificent skills once he had to carry the whole burden not only of the machines he loved but of all the music structures.

He, as this album clearly shows, was a mastermind of creative electronic ideas and electronic instruments combinations & riffs which up to today could properly be called "trademark sounds". Yet on the long run these creative sparks tend to go in circles as if looking for something which could trigger their development and transformation but this rarely happens, opposite to that the music once it has reached its self impossed peak becomes cinematic (or over the top to put it otherwise) and then is when Mr. Froese feels at ease.

He, as the future will show, became a very sought film makers choice for their soundtracks, he had it in him this music/movie spirit.

I who rarely enjoy these cinematic/epic or tragic figures in any kind of music could hardly enjoy this as I do the "uncinematic", deeply cerebral and abstractly emotional Tangerine Dream of that same decade.

***3 PA´s stars.

'For me one of the highlights in electronic music!'

1. OS 452 (7:56) : The start of this album is very compelling and top notch electronic music featuring a hypnotizing beat, soaring Mellotron violins and choirs, beeps and bleeps and wah wah with echo, a very lush and varied sound for an electronic album.

2. AF 765 (11:04) : A pumping sequencer is blended with Mellotron drops and synthesizer flights. Then fiery electric guitar runs with a distorted sound, as Edgar did on the legendary Encore live album from Tangerine Dream, powerful and exciting. Voices and synthesizer loops embellish the music. The final part delivers an accellaration featuring electric guitar and an ominous synthesizer sound, what a perfect musical translation of becoming mad!

3. PA 701 (7:36) : First soaring strings and slow distored synthesizer flights. Then the atmosphere turns into a kind of electronic version of Shine On You Crazy Diamond, very special, to say the least. Now a flood of Mellotron choirs that sounds as a real treat, what a breathtaking climate, blended with pulsating sequencers , goose bumps. The final part is very dreamy with a Mellotron flute and the sound of the sea, slowly fading away.

4. Quantas 611 (4:58) : This hypnotizing composition contains a distinctive electronic music aural landscape: spacey sounds and mellow synthesizer work, a bit ominous. The music developes into a captivating contrast between the sound of high strings and fat synthesizer layers.

5. IF 810 (4:26) : The final track starts with a catchy mid-tempo beat and cheerful synthesizer runs, legendary J-M Jarre comes to my mind. Then the majestic sound of Mellotron violins and finally fat and propulsive synthesizer sounds and lush Mellotron and synthesizer work, wonderful electronic music!

The material on this album from 1976 is composed by Edgar Froese (who died January 20th in 2015) during flights in 1975 and 1976 (the track titles are flight numbers), and it was recorded in Berlin. The cover pictures are by artist and photographer Monique Froese (Edgar his wife until she passed away in 2000) and the 'ghost of Chopin' is mentioned in the credits. This info is from my album version: Manikin Records mrcd7030 lc 3230.

Edgar Froese must have had so much energy and so many ideas back in the 1970s; it's astonishing to think of the amount of material he released between his main project with TANGERINE DREAM and the side project of his solo releases: 12 TD releases and five solo just in the 1970s!

Side One: "Epsilon in Malaysian Pale" (16:28) Before getting experimental in the seventh minute, the opening "flute" and Mellotron dominated section is quite developed, sculpted, giving the listener quite a bucolic feeling as Froese must have been feeling being inspired by his recent travels within Oceania. The second section begins around the nine minute mark while treated train sounds form the transitional sound bridge. A simple slow, low sequence and string synth are now accompanying, nearly dominating the "flute" and 'tron sounds that have been carried forward from the opening section. This sounds more like TD but still simpler, somehow more connected to nature. At 13:30 we have traveled to the final section. Gone is the sequencer, gone is the 'tron; now we have strings synth chords and the ubiquitous synthesized "flute." These take us to a peaceful, though heavier, less upbeat, less carefree, end. (9/10)

Side Two: "Marouba Bay" (16:57) opens with a decidedly more-distressed feeling. As the song progresses we hear a lot of sounds familiar to us from the previous TD release, "Phaedra," still in their less than polished sound forms. (You can tell that something happened to EF and TD between the making of this album and the making of "Rubycon" which resulted in much clearer, more confident-sounding sound reproduction. I don't know if it was in the engineering room or equipment or some filtering or sound-board system up-date, but the "old" sound of 74-75 is much more noticeable when compared to Rubycon and beyond. In the sixth minute a arpeggio sequence enters while "horn" and "string" synths alternate their contributions providing melody and interest points. This song feels far more like a Tangerine Dream song, the sound a little more thinly suffused, and more pastoral in its "imagery," but very little to distinguish it from the stuff Froese was doing with TD. (When does he start to use guitar?) (8.5/10)

Not on the level as some of the albums he was doing with/as Tangerine Dream, but close. A four to 4.5 star album.

There are three versions of this album, the Brain version, the Virgin version, and the Eastgate version. The latter is an abomination, Edgar Froese should never have partially rerecorded that adding on digital synths and drum machines. What was he on? This stuff is bound to haunt him beyond the grave. We can be thankful he didn't try and butcher the 1970s Tangerine Dream catalog the same way.

Aqua is his first solo album, but it certainly didn't harm Tangerine Dream in the least, as their best stuff was just around the corner. This one actually sounds more like a transition between the early "Pink Years" (Ohr label) Tangerine Dream and the Virgin Years. Many of the sounds effects are familiar as they were used on Phaedra, basically on the title track and "Upland", meaning you know it was Froese himself responsible for those sound effects. On this album he uses mainly VCS-3 and organ, but strangely he uses the Mellotron on only one cut. On "NGC 891" he gets his TD bandmate Christophe Franke on Moog to provided the sequencer. The title track features strange water sounds and very eerie droning organ, before ending like it came off Alpha Centauri or Zeit with those same eerie wind sounds. "Panorphelia" features pulsing VCS-3 synth sounds and Mellotron, but the Brain version starts off with strange whooshing sound effects not found on the Virgin version. "NGC 891" features an experiment using Günther Brunschen's artificial head system, basically microphones stuck in each ear of a dummy head (or mannequin head) to create this surround sound effect, as heard on the sounds of jets heard on this cut. The effect is best heard using headphones hearing them come from the left to right, although I can feel that effect on my regular stereo system without the headphones. You just have to sit between the speakers. "Upland" also starts off with strange sound effects on the Brain version that's different from the Virgin, before it goes on the more familiar bubbling VCS-3 synths sound effect. That strange reversed tinkling piano that ends the Virgin version is absent on the Brain version. It's only "Upland" and "Panorphelia" that differ from the Brain and Virgin versions as the title track and "NGC 891" are the same on both versions. I own both the Virgin and Brain versions so I can attest to this, and it's nice to own both versions because of that. I just acquired the Brain version after years of hearing how two of its cuts were of different mix. The other minor different was side one and two were switched. Regardless, this is a great and important album in Edgar Froese's career. Not only did it launch his solo career, but is a nice bridge between the old and new Tangerine Dream sound of that time, even though Aqua did come about four months after Phaedra. Very much an essential album.

In 1995 I found a used copy of Solo 1974-1979. This was at a time I was just starting to dive into the TD and solo Froese catalog (Stratosfear was my first purchase, in August 1994). For solo Edgar Froese, I only had Aqua and Epsilon in Malaysian Pale (actually spelled "Ypsilon", because my copy is the German LP pressing, the international version was spelled "Epsilon"). So I wanted to hear what his other albums were like. Well, this being 1995 no one will realize how much he totally messed about with the reissues when he got them on Eastgate, by partially rerecording those albums. Here on this compilation, he adds on new parts to some of the old material, like on Macula Transfer and Ages. And I notice that quite a bit. For example, "PA 701", he adds on some early digital PPG synthesizers that the original clearly did not have, so that buried a lot of the sequencers (so I didn't realize how much this sounded like a blueprint for "Thru Metamorphic Rocks" off Force Majeure until just recently when I finally purchased the original LP to Macula Transfer). The two Stuntman tracks were left completely alone, probably because they still sounded pretty modern by 1982 standards, even if it dates from 1979. I'm not familiar with Ages (wasn't a high priority on my list due to mixed reactions), but "Tropic of Capricorn" here was an excerpt and "remixed" (that is, adding on new stuff). "Epsilon in Malaysian Pale" can only be an excerpt since the album only consisted of two side-length cuts, luckily the mix was left along, sounds exactly as you would hear on the original LP. "NGC 891" originally came from Aqua, although really, this should have been called "NGC 891 '82" as it's a total brand new rerecording of, which is completely pointless, it sounds much more modern and updated, naturally, with all those polyphonic synths, but totally lacks that wonderful spacy psychedelic vibe I came to love of the original (the original was much longer, features that Dummy Head gimmick for the sounds of jets, the sequenced notes, the trippy synth sound effects). I don't know how to recommend this, but since many of the songs had new stuff added on, it gives these songs a different dimension from the original, but I don't think they're exactly improvements, but doesn't make them worse. Aside from the sole Aqua song being totally rerecorded from top to bottom. Not bad, but you should get his other solo albums too.

I was a little kid remembering how the 1970s became the 1980s, and it seems like a rather fast transition giving you little time to adjust. I think it had something to do with 1979 was the beginning of the 1980s, you can notice that in a lot of the music of the time, for example Gary Numan ("Cars" sounded like it could have easily fit well in 1981-82, when in fact the song, and the album it came from, The Pleasure Principle, dates from '79). Disco was the big reminder it was still the '70s. Tangerine Dream's Force Majeure certainly hinted at a more '80s sound, but the old sound was still there, especially many of those nice sequencer passages found on the title track, but for Froese's solo album from later that year, he let everyone know this was the '80s, even if it was still 1979. For one thing, the Mellotron was ditched, prototype digital synths from PPG were in, but still some of the old gear was still used (he couldn't possibly ditch all the old gear that fast). Due to this more '80s synthetic sound, it's little wonder many tend to look down on this album. Is it really that bad? Not really, and I'm sure fans of early '80s electronic music should have no trouble with this. The title track is a bit pop-oriented. He must have thought he needed a hit on the lines of Jean Michel Jarre's "Oxygene IV". You can imagine hearing this as a theme song for a sci-fi TV series circa 1982. But then he moves on to less commercial territory with "It Would Be Like Samoa", a lot of it (unsurprisingly) has that Tangerine Dream-like feel to it, complete with sequencer (Edgar Froese style), with lots of polyphonic synths. "Detroit Snackbar Dreaming" is a great piece, I really dig those Moog synth leads. "A Dali-Esque Sleep Fuse" really surprised me, I hear this glassy synth tone that sounds exactly like a Yamaha DX7. Wow! I can't believe I'm hearing a DX-7 sound from a 1979 recording (no, I don't own the Eastside version, I avoid those like poison, I own the original UK Virgin LP pressing, complete with cool inner sleeve depicting all his gear of the time), of course coming from a PPG synth, since the DX7 obviously didn't hit the market until some four years later (1983). The last cut I honestly don't care for, it seems a bit on the fluffy New Age side of things, and I can see why, compared to earlier albums, this isn't as highly regarded, but I enjoy most of it still.

I was wandering around one of my local Eugene, Oregon record stores and was totally blown away to find an original green Brain copy of Macula Transfer. Of all solo Edgar Froese albums, this was the one I had most difficulty getting a hold of. For one thing, before the seriously messed about 2005 version on Eastside, it's only been reissued once, on Manikin Records, but due to legal problems, it quickly went out of print after the 1,000 copies were pressed. I was often perplexed by the rarity, then I discovered Virgin never released this, that's why, of all albums of his later reissued on CD, that one didn't make the grade. I doubt the LP is THAT rare as claimed (I'm sure way more than a 1,000 copies of the LP were pressed, but only a 1,000 copies of the Manikin CD reissue was pressed), although I imagine copies to turn up from time to time in Germany, after all it did appear to remain in print into the 1980s, starting with the original green label, then the orange label (end of '76 until 1981), and then the black label, circa 1981. It would obviously be rare elsewhere given it was released nowhere else.

Anyways, Macula Transfer was his third solo album, and the theme was on flight. Each song title is actually an airline flight number. While QUANTAS (actually QANTAS) is a bit obvious, the others aren't: OS is Austrian Airlines, AF is Air France, PA is Pan-Am, and IF is Interflug. If that last one is not familiar to you, it was the East German state-ran airline company that went defunct after the fall of the Berlin Wall. So each song was apparently written while on said flight, probably to another Tangerine Dream concert. OS 452 reminds me a whole lot of Manuel Gottsching's Inventions for Electric Guitar had Mellotron been added on. It's as if Froese got a hold of that album and wondered how it would be like with Mellotron! "AT 765" has the ping-pong synth thing going on with tron and Elka Rhapsody chords going on, I really like how it picks up at the end. "PA 701" sounds very familiar! It sounds exactly like a blueprint for "Thru Metamorphic Rocks" off Force Majeure. It has that same sequencer synth patter and synth sound, but the Mellotron arrangements are totally different. Now I know who handled the sequencers on "Thru Metamorphic Rocks"! "QANTAS 611" is a rather eerie, Mellotron dominated number that gives reminders of the earlier TD stuff. "IF 810" is the closing piece, with that pulsing synth rhythm, Elka Rhapsody and Mellotron. For fans of the Mellotron, this is an essential purchase, Froese just goes bonkers on this instrument, making sure you hear it, and it's used on every cut. This album is not a continuation of Epsilon in Malaysian Pale. It doesn't have that calm, often tranquil feel that album has. This one is more aggressive, with guitar more dominating (in fact it's probably the most guitar-dominated thing I've heard off Froese outside of Electronic Meditation, but unlike Electronic Meditation, which is basically a good old fashioned psychedelic Krautrock album, Macula Transfer is still undeniably electronic). To many Macula Transfer may not be the best thing he's did, some probably would feel it sounded more like a incomplete demo, but the way it sounds is he's used to two other guys helping him out and forget that's not what's happening here (Klaus Schulze, on the other hand never had that problem, so his recordings always sounded more full and complete). Still I very much enjoy Macula Transfer. The Mellotron work is simply insane and to die for. It's as if he had free reign on the Mellotron because Peter Baumann and Chris Franke isn't holding him back.

For me, this is another great album worth having, not entirely sure it makes the five star grade, though, but worth it.

22 years after his last studio effort, "Pinnacles", Froese releases a tribute album to his idol, Salvador Dali. The German musician personally knew the Spanish painter and was invited to play at his villa in Spain. Dali appreciated the musical approaches of TANGERINE DREAM's leader. Edgar already composed a tribute track for the surrealistic artist, "A Dali-esque sleep fuse", in his 1979's opus, "Stuntman", one of his best records. However, this time the entire disc is dedicated to Dali, as all tracks names begin with the prefix "Dal".

Musically, the style can be described on a mixture between TD's Schmoelling-era and the band's 2000's sonorities, especially "Jeanne d'Arc", but however less interesting and with new-age incursions. The overall is nonetheless quite different from the German pioneer's "classic" material from the 70's and 80's.

Let's first talk about the good tracks. The mysterious opener "Daleroshima" is enjoyable with its crystalline sequence and and hazy atmosphere. "Daliesquador" is also nice and contains a fast and futuristic electronic loop. The longest composition, "Daluminacion", is also one of the best passages of the record. This delicate piece features many changes and displays an aquatic and melancholic ambiance. The relaxing new-age-ish "Dalozapata" sounds a bit cheesy and is average.

"Dalerotica" displays a spacey ambiance a little similar to TANGERINE DREAM's "Mars Polaris", softer, but more repetitive and less inspired. "Daluna" seems dated and reminds the band's darkest hours in the 90's. The ender "Dalinetopia" is maybe the oddest composition of the disc with its female voices. In fact, it does not really resemble Froese or TD's music. Not much to say about the three other tracks, rather soapy and boring.

"Dalinetopia" contains some good passages, unfortunately too rare. Like many TANGERINE DREAM albums from the 2000's, this record could have been shortened. Furthermore, after the listen, establishing a relation to Salvador Dali is a little difficult, as the music is neither very Spanish nor original. "Stuntman" is a much more surrealistic opus with its combination of stranger melodies over hypnotic sequences. Recorded 26 years before, it suits the universe of the Spanish artist better. Last and only weak studio album in Edgar Froese's discography... Not essential, only for 2000's TD lovers.