Lonely Cowboy wrote:Pertou wrote:Lonely Cowboy wrote:
Springtime in Nagasaki is like a good wine - its rich bouquet evolves after a while...the compositions are complex and of sheer beauty, but you definitely need time and concentration to hear all the beauty sounds. This music (especially EFs Navel of Light) was not made for fast consumption...
Lonely Cowboy, you must agree with my review which I'll put on the site tonight! I like your avatar, btw...
Thanks, Pertou! I'm anxious to read it soon.
Anxious? Don't be...
Again, Tangerine Dream can be bought for money, but undoubtedly under other legal circumstances, unlike, when they according to Klaus Schulze, prostituted their artistic integrity away to Hollywood in the mid eighties, to arm an insanely large arsenal of synthesizer equipment, which had to be rapidly renewed, time and time again. For some years, that was the agenda, and demanded its sacrifices: the talents known as Johannes Schmoelling and Christopher Franke.
The orchestration of newer TD has been stable for quite some time, but artistic disputes, has given Jerome second thoughts, as it looks now.
Springtime In Nagasaki is ordered by a Japanese business man, on his 82nd year, whom managed to stay both in Nagasaki and Hiroshima, in the time around the dropping of the bombs. Springtime In Nagasaki marks, as it is promised on the sequel, Summer In Nagasaki, the daily atmosphere in Nagasaki, with the omens, the civilization were not aware of, but were on the drawing board at the American air force.
The following season, autumn and winter, is set in the time, when our hero lived in Hiroshima, and perhaps they reveal themselves from a more violent side, music wise, that is? I mean, how can you stage, such a bestial crime, it really was, when the bombs fell upon the metropoles of Nagasaki and Hiroshima.
A fifth instalment, which TD calls “the endless season”, is the time after the war, which I find very disturbing, as it is presented the press info.
No deal without conditions, hence the dogma of a 54 minutes restriction, for each album in the series. Why, we do not know, but it will please fans complaining over too long album, and they will probably also, be delighted with the way Springtime In Nagasaki is.
I personally think that TD works exquisitely from a firmly defined thematic, and as it emerges from the musical flow of the album, the 82 year old one, has not looked TD over their shoulders, as a tyrannical control freak
Apparently that is the case for Edgar Froese and Thorsten Quaeschning, who, individually, have given each other free hands to the project – so their approaches are very different, and not unimportant, they are pure.
Contrary to the residing tendency of a vital, young input, versus a rather superannuated mastermind, it must be pointed out that the only original member has the biggest ability to identify himself into the project.
Edgar’s Navel Of Light is cogent, and at worst, very clinical, but nevertheless, strong narrative synthesizer art in three parts, that despite of the “fact” that it reaches a musical deadlock, upon the first listens, in such a degree, it took me in a state, way beyond tedium, also contains the complete grotesque drama, I expect to hear more from, during the autumn and the winter.
The intro, Navel Of Light Part 1, is cinematic keyboard symphony orchestra, that theoretically can’t gain a single amount of applause, but in reality it really works. What makes my small hands clap, must be credited to the following atmosphere, and in the second part, illustrates a void – a calm before the storm, so to speak. Furthermore, Edgar’s fascination of Japanese culture shines through, very evidently.
In Navel Of Light Part 3, a storm is brewing, on the other side of the Pacific, in the USA, that is, where they have succeeded in exploiting the nuclear physical discoveries, care of Niels Bohr, to potential crimes against humanity, and as history proves, makes benefit of, on the 9th and the 16th of August 1945.
What we hear, is splendidly sequenced electronica, and a rocking, conclusive chord progression, which put a stop on Froese, this time. Navel Of Light is like written after the Hollywood template, but rather with a “to be continued” than a happy ending.
There is no space left for a rhetorical pause, when Thorsten Quaeschning gives his version of the whole wretched business.
The thing that makes Persistence Of Memory fail, compared to Navel Of Light, is most likely a kind of generation gap. My experience is that elderly people, who experienced the war and its repercussions, are more moved and solemn about it. Thorsten is much younger than Edgar, and in comparison, his music just seem to be an extension of his prog.rock fascination.
I prefer to see Persistence Of Memory as this, as it doesn’t bear witness to the presence of history, unlike Navel Of Light.
Persistance Of Memory Part IV is a weird amalgamation of Klaus Schulze’s and Pete Namlook’s Dark Side Of The Moog IV and Talk Talk’s final records, Spirit Of Eden and Laughing Stock. First mentioned in the exotic rhythms and last mentioned, in the jazzy paraphrases in the synthetic wind- and guitar arrangements.
Persistence Of Memory Part V is confused in its mix of dripping sounds, a fragment of Vivaldi’s Spring, and a general laidback ness, unfortunately only multiplied in such a calibre, it seems rather trying. Fortunately, it gets a lot better, when loud new age piano, and the aforementioned guitar sound returns.
Persistence Of Memory Part VI is a barefaced tribute to Genesis. The synth leads is Tony Banks in person, and the drum rhythms, particularly the hi-hat fills, is a Phil Collins robot. Cathartic, upon the previous dripping music.
Look forward to the four following albums, and do not despair upon Springtime In Nagasaki. It’s like a maladjusted teenager, but take your time to listen and understand. Everything will stand much clearer, if you listen on the right premises. (May 2007)
A somewhat grammatically corrected version will be found on my website !
