Find Tangerine Dream discography, albums and singles on AllMusic. Tangerine Dream. Biography by John Bush. Follow Artist. Innovative Berlin group Magnet Download; Torrent Download. Category Music This may not be a complete discography for Tangerine Dream. By this stage the band was now attracting considerable attention from outside Germany and after Atem they signed a recording deal with Richard Branson's Virgin Records, which had just had its first and unexpected hit with Mike Oldfield's groundbreaking Tubular Bells Branson's instincts that the band could find an audience in the UK once again proved correct; the seminal Berlin-school albums Phaedra and Rubycon were big hits.
These releases find the band moving beyond the purely psychedelic influence towards a lusher, more neo-romantic-flavoured sound. They also feature the band's first use of the Moog synth as a sequencer - a means of automatically generating bass loops and melodic pulses - a move which was to have enormous implications for both Tangerine Dream and for electronic music's move into the pop and rock mainstream.
By this stage of the band's evolution actual melodies are also starting to appear, but not at the expense of the eerie and awe-inspiring atmospheres, created with clever phasing effects and beautiful melodic washes from Froese's mellotron keyboard. Phaedra and Rubycon are undisputed ambient classics, and tone-colour music of the highest quality. Stratosfear and the film soundtrack Sorcerer are an even more radical departure from the band's avant-garde roots.
Almost certainly taking their cue from the commercial success of Kraftwerk's ground-breaking electropop single "Autobahn", the pulsing title-track from Stratosfear proved to be their most melodic, structured and accessible piece to date and the album cemented their new-found popularity abroad. But even here, that exquisite sense of mystery and otherness remains. Following several ordinary live albums and the departure of Peter Baumann, another transitional period suggested, somewhat worryingly, that the group was becoming a more conventional rock band.
On the late's album Cyclone , for instance, they experiment with a live drummer, vocalist and more conventional rock instrumentation with very mixed results. But soon the Kraftwerk-inspired explosion in synthesised pop really began to make its presence felt and Tangerine Dream's music moved on to its next stage.
Electronic beats and sequenced rhythms were here to stay and by the end of the 70's had changed both popular and experimental music irrevocably. The technology was evolving at a rapid rate, too, and Tangerine Dream made the most of it in a huge spurt of inspired creativity that lasted until the late's. The band's sound had now changed quite radically from uncluttered "music of the spheres" into denser and more rhythmic ambient trance.
And one could argue that this later period has been no less influential on the following generations of e-musicians and producers. While Tangerine Dream's 70's music inspired the development of more restrained styles of ambience and spacemusic, the music of their early's albums informed several strands of electronic dance music that first appeared in the 90's.
This influence stems from the band's exquisite layering of melodies and the use of minimalistic repetition. This is ambient trance, and though it's hardly club music in itself, one can detect the roots and layered melodies of dancefloor trance and the more melodic strains of progressive house music.
Force Majeure , Pergamon live , Tangram , Exit , Logos live , Poland live and the Firestarter soundtrack are the key albums of this era. This period also marks the tenure of new member Johannes Schmoelling , who joined the band in after the progressive rock-flavoured Force Majeure.
With the addition of Schmoelling's fresh ideas and his sleek, gleaming sound, these albums find the nebulous and subtle qualities of the band's earlier work integrated with brighter synth arrangements, more developed rhythms and typically piercing lead guitar lines from Froese.
As before, tracks of ten to twenty minutes duration are common in all their trance-inducing, multi-coloured glory. The band's sense of harmony and use of layers is thrilling: very few electronic acts past or present have been able to interlock two, three, even four spiralling melodies with such hypnotic perfection. Perhaps the crowning jewel of this period is the live recording Logos.
Like all their live albums until the late 's it features all-new material rather than repeats of released studio recordings. It's a consistently engaging, beautifully complex and layered work. Melodic, driving rhythmic workouts coloured by odd percussion samples and digital voice bytes combine effortlessly with slower, more surreal passages of abstract sound. Even if the electro drum sound is rather leaden something Kraftwerk always did better , Logos is still one of the most colourful and attractive pieces of pop-flavoured ambient ever released.
The minute title suite climaxes in a wall of rich minor and major synth chords so rapturous and sensual it simply obliterates the notion of synthesisers as soulless machines. That same euphoric quality also distinguishes the mesmerising title tracks from two otherwise mediocre albums White Eagle and Hyperborea , the latter album proving to be the trio's last release on Virgin Records.
Unfortunately, for all its pioneering moves, by the end of the 's Tangerine Dream's remarkable chemistry had dissipated. Inconsistent quality from track to track already characterised quite a few of the band's albums from the the late 70's onwards; the Tangerine Dream of the 80's could be brilliant one moment, cheesy or bland the next.
A slew of generic soundtracks for American films - financially lucrative work at the time - was one symptom of the decline. Then, after the wretched electropop-lite of the album Le Parc , Johannes Schmoelling made the significant decision to leave for a solo career. In hindsight his contribution to Tangerine Dream was enormous, particularly in the way he applied emerging digital synth technology to bring a more streamlined and structured sensibility to the band's music without losing all the psychedelic, trippy qualities.
In fairness, Schmoelling's classically-trained replacement Paul Haslinger did revitalise the band for a time before he, too, departed in Highlights of his tenure include the bright, crisp structures and gorgeous harmonic progressions of the lengthy "Song Of The Whale" suite from Underwater Sunlight ; the stunning electropop-classical-ambient fusion of the instrumental "Alchemy Of The Heart" from the otherwise vocal-infested Tyger ; and the rich, tight, pulsing film soundtrack album Miracle Mile , the band's last gasp of brilliance.
But within a few years of Haslinger joining, key member Chris Franke - whose sequencer programming was the band's virtual engine room - left the group.
Exhausted from constant touring, he was conscious of the band being overtaken by a generation of young electronic musicians with better ideas and more time to explore new tools. His exit in was a major turning point. Thief [Original Motion Picture Soundtrack]. Wounded Bird. White Eagle. Logos: Live at the Dominion. Wavelength [Original Soundtrack]. Extracts from Poland. One Way Records.
Esoteric Recordings. Poland: The Warsaw Concert. Combat Records. Risky Business. Legend [Original Motion Picture Soundtrack]. Le Parc. Green Desert. Silva America. Desert Dream. Underwater Sunlight. Canyon Dreams. Live Miles. Caroline Distribution. Optical Race. Private Music. Dead Solid Perfect. Destination Berlin.
Lily on the Beach. Miracle Mile. Shy People. Three O'Clock High. From Dawn Til Dusk. Music Club Records. EMI Music Distribution. The Park Is Mine. Dreaming on Danforth Avenue. Blue Moon. Catch Me If You Can. Edel America Records. Turn of the Tides. Tangerine Dream Int. Tyranny of Beauty. Goblins Club. The Grammy Nominated Albums.
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