In the group revises the kraut line with the LP Cyclone closer to progressive rock, and would revise it again with the LP Green Desert with more insertion of guitars, vocals and acoustic drums. But these 2 albums are one of the few records of the band in this area, which had as pillars Edgar Froese and Christopher Franke, going through numerous formations with excellent guest musicians.
In general, they passed through the band, modifying and adding with their utopian touches, musicians like Peter Baumann, Johannes Schoemmeling, Paul Haslinger, Michael Hoenig and, currently Edgar's own son, Jerome Froese, among others more recent. But of the great and remarkable phases that are divided into 3 periods the vintagethe middle period the 80s and 90s and the current one, the most promising ones are from the 70s and 80s.
However, the symphonic and almost "baroque" component of the Tangerine Dream suites remains alive. An essay is the initial "Rubycon Part 1", which takes shape slowly, from an icy and rarefied entrance, up to the progressive opening towards more "airy" and warm sounds, with the modular rhythms of sequencers supported by short melodic phrases, drawn by the mellotron, by the strings and by the organ and by the synthetic choirs.
It opens the curtain of the chilling and monodic sounds of moog and some hissing notes of mellotron. A daydream. Imagine nature and its landscapes, noises, sounds, water, birds. See the sky, see the stars, see the galaxies, see the cosmos. It is a relaxing and suggestive melody; of the imposing echoes of voices from the unconscious that expand and leave room for a sound from the abyss, from the depths of the earth. Utopia steps aside and leaves room for elaborate techno.
You feel closed in an endless tunnel. The pace becomes more and more disturbing and faster, it becomes obsessive but fate makes it dissolve and sucks it away. It is the tangerine dream. The second side "Rubycon Part 2" continues on these soft tones, up to the fading of the final sound, in which only parute and remote melodies remain lost in the boundless spaces. It opens with the whistling of the wind. A nightmare. Imagine a house on top of a hill, open windows, blowing wind, fluttering curtains, someone screaming.
Extra-sensory sounds are heard under the keyboards. Strange psychedelic hisses and hisses. The polyphony of Chris Franke's keyboards, who in "Rubycon" does a sublime job to say the least, conclude this human contact with the cosmos.
However, it is important to emphasize that we are not talking about a simple tape recording of songs: in this record the German trio has created something that goes beyond the normal idea of music we are used to.
The value of this work is to be found precisely in the philosophical-artistic concept that led to the recording of this album and even more to what influenced posterity. Many giants of electronic music, and not only, have fished with both hands from these records that have paved the way for a totally new genre. In summary we can say that we are facing one of the most important records in the history of music, a milestone that marks the birth of a new world.
Going beyond the historical side, we are talking about a record that knows how to penetrate our rational perceptions and that, if listened to with the right mood, gives immense emotions.
Review by VianaProghead Prog Reviewer. Formed in by Edgar Froese, Tangerine Dream is considered the greatest link between the prog rock music and the electronic music in the last century. Tangerine Dream had a history marked by several different phases.
The first phase, between andreflects a strong influence of early Pink Floyd's psychedelic work. It comprises the first four studio albums of the band, "Electronic Meditation" from"Alpha Centauri" from"Zeit" from and "Atem" from These were the years that became known as "The Pink Years".
The second phase of the band, between andis remembered by fans as the main sound transition period for the project, with keyboards, synthesizers and sequencers being used in their own way.
This phase also includes their first three live albums, "Ricochet" from"Encore" from and "Logos Live At The Dominion? London" from This was the phase that became known as "The Virgin Years". The futuristic sound of Tangerine Dream has influenced several generations and is still remembered today for the absolute singularity that it carried in its productions.
This is even more evident when we are talking about the 70's, especially about of their albums that belong to "The Virgin Years". That was also their golden era that is also the phase with their best line up, which comprises Edgar Froese, Christopher Franke and Peter Baumann.
This is particularly evident with their albums "Phaedra", "Rubycon" and "Ricochet" which are considered the three main masterpieces of Tangerine Dream. Even in that period they released "Cyclone" that is the only album of their discography with vocals. So, now let's talk about "Stratosfear", which is the subject of this review. It was the first album since their debut to not feature a side-long track. However, "Stratosfear" still is an album consisting of only four songs, where two of them were over ten minutes, cannot be accused of being a commercial sell-out, not even by 70's standards.
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It was the guitars and drums going at it that was going to lift you out of the dark abyss that I had painted. The lyrics of "World Wide Suicide" depict anger against the war. Other themes addressed on the album include alcohol use "Severed Hand" religion "Marker in the Sand"poverty "Unemployable"leaving everything behind to Album) a fresh start " Gone " and loneliness "Come Back".
Many of the songs are written from the point of view of a protagonist, which emerged from an early idea of turning the record into a concept album -  as guitarist Stone Gossard explained, "we did consider using narration to thematically unify the album, but ultimately a less conceptual structure just felt right.
Vedder added that many songs were inspired by the death of fellow musician Johnny Ramonewhom he described as "the best friend I ever had on the planet". The lyrics of " Life Wasted " in particular were written after attending Ramone's funeral. The album's cover art, photographed by Brad Klausen, depicts an avocado cut in half with the pit still in place. McCready said, "That symbolizes just kind of Ed's at the end of the process and said, for all I care right now, we've done such a good job on this record, and we're kind of tired from it.
Let's throw an avocado on the cover. I think that's what happened, and our art director goes, hey, that's not a bad idea. I think we were watching the Super Bowl, and we had some guacamole or something. The photographs involve the band members with their skin decaying and animals crawling in and out of it, as Apodaca felt the songs, "Life Wasted" in particular, fit "my interpretation of the how fragile life is".
On the choice of a self-titled album, Vedder explained, "In the end, we thought there was enough there with the title of the songs, so to put another title on the album would have seemed pretentious. So, really, it's actually Nothing by Pearl Jam. He explained, "We're un-owned.
We want to remain un-owned. Copies of the album were made available for pre-order through Pearl Jam's official website with different CD art and packaging than the retail version, and also a bonus disk featuring the band's show on December 31, at The Academy Theater in New York City. The album was released on May 2, Vedder said the exposition happened because "it seem[ed] like a critical time to participate in our democracy.
Three singles were released from Pearl Jam. The lead single "World Wide Suicide" was made available through online music stores backed with "Unemployable" and also issued for free download on the band's website. The tour originally had 69 concerts,  which were then expanded with three gigs in Hawaii,   one of them opening for U2 's Vertigo Tour in Honolulu. Pearl Jam went on to tour Europe for its first time in six years. The band played a small secret show at the Astoria in London, and headlined the Reading and Leeds Festivals in Augustdespite having vowed to never play at a festival again after Roskilde.
In an interview in advance of the band's return to the festival circuit, Gossard commented, "It seems like an era to trust that we're aware enough to get through those bigger shows. We have a heightened awareness of what needs to happen every night so people are as safe as they can possibly be.
He commented during the Leeds set that the band's decision to play a festival for the first time after Roskilde had nothing to do with "guts" but with trust in the audience. Pearl Jam entered the UK charts at number five, the band's highest position there since 's Binauralwhile it reached number two in the U. According to Metacriticwhich assigns a normalized rating out of to reviews from mainstream critics, the album received an average score of 74, based on 28 reviews, indicating "generally favorable reviews.
He said it's "the most overtly partisan—and hopeful—record of their lives," adding that it's "as big and brash in fuzz and backbone as Led Zeppelin 's Presence. But it delivers that seriousness not with the sodden self-importance of rock superstardom, but with the craft and hunger of a band still proving itself on the spot.
Brian D. Schiller of Slant Magazine gave the album three and a half out of five stars. He stated that "the album is at best another good step toward their once great state and not a full return to it. What's true, though, is that it's the group's best full album since Vitalogy. The review said, "[S]elf-titled with good reason: Pearl Jam sound reborn, vital. He said that "rather than rage against the time machine, they seem to be having fun The two big guns - "Changes" and "Life on Mars", are the best examples.
The hooks come from the strangest places, the transitions move the song in directions that are completely unexpected at first but make complete sense when viewed from above, and all in all there isn't a single wasted moment melodically. I can't say the same about every cut here - there are a few tracks held together by a single moment or two "Kooks"and even some that I don't rate at all "Andy Warhol".
But when this is on song it's marvelous; a perfect fusion between arthouse and accessible. Stratego, the 2nd track and coincidentally the 2nd promotional single. One of the fastest tunes in the record, sounding a lot more IM than the opener track and with Dickinson demonstrating how good of a metal singer he still is!
I predict a long standing at least for the future duration of the band concert staple, it has everything a fan will expect and crave from the band. The first promotional single, The Writing in the Wall. Another future concert staple for sure, I can picture the crowd singing along Bruce like reviving any old classic.
What makes this song really unique within Maiden's discography is the use of that Celtic-cowboy-folky feeling guitar melody, it's basically enchanting. The three guitarists perform their parts perfectly and blend together in a way is difficult to picture another trio doing in rock history again. I'm not sure if I would have chosen this song as my first promotional single, but it sure enhances the experience of the listener and prepares him for all things to come in this incredible double album.
Lost in a lost world is the first solo statement by Harris here, and to be honest, I think that if this song was placed as opener for album two replacing the notable opener The Darkest Hour, not only would we have being given a Harris solo album, but alado a even better double effort by the band. The riffing is unequivocally prog and is one of the highlights of this track, then the orchestrally programmed guitars start kicking in, first two, then one, then 3, then one again, the two again, if that's not a wisely planned performance by Master H then, well, it just has to be, right?
And the tone, the bass tone, the drumming, the storytelling being accompanied by the pleasant guitar licks. It closes the first album of this double set evidencing that this band feels very conformable with the "new tempo" in which their music has surfed since Brave New World maybe? Gers sounds great ant the twin guitar melodies bring back so many good memories from so many good songs from so many good albums, even the FOTD-style pause fits perfectly here, one of my favorites.
I apologize in advance but this band is getting closer to the progressive metal genre as years how by, is undeniable. Darkest Hour?
Mmmm just a mirage, Smith's unequivocal guitar licks and shredding soloing lead the way to a heavy ballad, the perfect scenario for Bruce to display all that vocal power he still has, sounding more like a solo album circa Tear of the Dragon but preluding what's to come for the next 30 plus minutes. Death of the Celts, the first epic on this record. An elegant and mature Maiden playing from beginning to end? I guess that's part of what Celtic-like melodies do to a bunch of musicians like these.
Harris, the prog head of the band pumps his volume in the mix and brings his masterful playing upfront, leading everyone into this heavy metal nordic-like progressive tune. The twin guitars become a trio, because Harris has playfully united to the harmonic feast and that anthemic feel kicks in, to never let go. The Parchment, Harris again, and again, and again.
This song and its melody has the mischievous "bad boy" imprint all over the place, like the atmosphere that surrounds a rainy day in the aftermath of a Viking battle, slowly upgrading the tempo with a wiser and serious sounding Dickinson who is co-leading the scene with the guitar licks. This is my favorite song from this album, the desperate and sometimes painful guitar playing just hooks me without any available remedy.
Almost 13 minutes of perfectly crafted "mid tempo" heavy and melodic heavy metal! Again, the lyrical content is out of bounds! Afraid to shoot strangers. Sorry, my bad! The almighty Hell on Earth, with the most accurate and actual track title in the whole double set! Traditional Maiden galloping brain designed by H, maybe the more hit single fitted out of the three epics, it just sounds like any song from the SSOTSS era?
Signature instrumental pause Pre (2) - Epic Fits (CD the vocals reentrance at full and furious capacity! Guitar galore with a flawless Nicko and a more than cohesive band!
This album is a grower, it just gets better with every listen, but is also guaranteed to grab your attention at first ride, and it might not be the best Iron Maiden ever, but is definitely the best new Iron Maiden ever! The End! I've been quite harsh on Queen in recent years, since their dramatic fall from grace as my favourite band aged 9 to being one I consider to be amongst the most overrated of all time.
But revisiting this for the first time in years, perhaps for once they've gone up in my eyes rather than down. Perhaps it's because this is the one I knew the least from during my years of Queen spam. Even the deep cuts Pre (2) - Epic Fits (CD their earlier albums I was familiar with, but of this, only "Killer Queen" was part of my obsession.
It still has much of the same criticisms you can throw at a Queen record - wild inconsistency in both style and quality, torrid lyrics, love-em-or-hate-em harmonies. But there are surprisingly more decent songs than poor here, and I even quite enjoy the break we get from Freddie Mercury on "Tenement Funster" - to the Album) where I'd actually say Roger Taylor should have got a lot more songs on lead. It stutters in the second half, as Queen albums tend to do, but for the first time since I was Pre (2) - Epic Fits (CD or so, I put on a Queen record and didn't want to turn it straight off, and that says a lot.
The formation of the group started with the idea of having several virtuoso musicians and a pop singer joined together to make new fashioned music in the old fashioned way. The idea appeared in by the executive producer Bill Evans and the album was made with the help of the music producer Peter Collins.
Intrigued with the idea and the prospect of working together, this group of musicians signed on to a contract to form a band and record a full length studio album.
Vocalist Casey McPherson shows early that he is able to hold his ground within this so strong cast of musicians. By the other hand Steve Morse supplies the first, of what will be the main characteristic of the album, great melodic solos. The second track "Shoulda Coulda Woulda" represents a heavier rock track where Portnoy and LaRue make an excellent rhythm section.
It's a standard hard and heavy rock song that shows the high quality of all musicians. This is the heaviest track on the album and is also probably to standard to my personal taste. The third track "Kayla" begins with a very promising way.
Soon, I felt that it was to be a strong track with a great melody and a great vocal line by Casey. The vocal line in the chorus takes us into the catchy territory of American bands like Styx, Kansas and Journey.
The fourth track "The Storm" is another hook filled track once more with some rally concise and fine guitar solos. I know this is a very standard rock track but, we are in presence of a very well written, performed and executed piece of music. The song has a nice and rhythmic passage and the vocals are some of the strongest made on the album. The song has a funky, bluesy and even jazzy line and it has also a great guitar work by Steve Morse.
This is a song very influenced by The Beatles and it has also some Queen influences, particularly the guitar work that reminds us Brian May. This is a typical song of the 60's and 70's pop rock genre.
The seventh track "Everything Changes" is a typical ballad with acoustic guitar to start and a simple back track of drums and bass to keep things moving. Once more we can see the influence of The Beatles on the song. And, once more, we can see a superior vocal and guitar works on this powerful and beautiful ballad.
The eighth track "Better Than Walking Away" is another typical American ballad fashion way that gradually becoming louder and heavier and where its climax appears just before the song ends. This is AOR in its optimum form.
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