projekt-elektronik wrote:Nothing wrong with dark and moody -- if only it were just that.
I purchased the limited-edition white vinyl and CD, just to find out that the CD doesn't come in a standard CD packaging, with booklet and inlaycard included but just the CD, slipped into the album sleeve. This was a bit of a let-down, especially since I didn't want to cut the sealed album open, just to get to the CD. This wasn't mentioned on the BureauB website either. Make of this what you wish. I for one felt a little cheated.
Musically, I am not sure whether this was supposed to be a bad joke (i. e. failed German attempt at being funny) or a serious musical statement. If the latter is the case, I wonder how people would respond to this album if it had not been recorded by someone like Peter Baumann (whose reputation is based on deeds from days of yore) but by one of those third or fourth-generation TD soundalikes that seem to make up the majority of synthesiser music performers these days. Honestly, some of these bedroom musicians and amateurs do hold up better in terms of performance and production.
Would people still be overwhelmed by this record and welcome it enthusiastically, had it been recorded by John Smith, or would they sniff at it and say "what's the point of releasing an album full of badly played music that would already have been crappy some 40 years ago?"
Even the missus thought someone was playing a silly joke on her... and she most certainly isn't the most distinguished expert on this type of music.
"Honestly, some of these bedroom musicians and amateurs do hold up better in terms of performance and production."
This statement alone proves that you really have no idea what you're talking about when it comes to either musical composition or performance. MACHINES OF DESIRE is one of the most impressive albums in the synth/EM genre to come out in the past 10 years, and the- mostly UK based- third or fourth-generation TD soundalikes you're referring to wouldn't even be able to remotely conceive music of this quality. If you want "badly played/crappy music", let's start back in the 90's with Neu Harmony, Centaur Discs, DiN etc etc which ultimately brought about "those third or fourth-generation TD soundalikes" you apparently worship. Who are also all on their own labels because someone like Bureau B would never, ever touch them. Conversely, they not only liked (and released) Peter Baumann's new album but it sold well enough to justify the rerelease of his first two solo albums on their label as well.
Getting to your main issue:
In some ways, Baumann's solo stuff is deceptively simple on the surface but repeated listenings reveal a much greater depth and- to the intelligent listener anyway- the amount of thought that went into each piece as it was being crafted. So for you to come out with something flip like "Peter Baumann (whose reputation is based on deeds from days of yore)" only serves to illustrate that you don't understand why Tangerine Dream became popular back in the 70's to begin with. There would not have been a Tangerine Dream as we all know them were it not for the contributions of both Baumann and Franke. Honestly, I'm surprised you didn't make a point of complaining about the little sonic throwbacks to his earlier albums that were included on MoD. Which you would have thought was "brilliant" had it happened on other releases, I'm certain. Baumann may be finding his footing again after a very long absence, but the point is he actually had one to begin with.
I would be curious to hear you explain- at length- how the multiple albums you released with the band you were in have managed to eclipse the "days of yore" and also why your recent solo album is better than MACHINES OF DESIRE. BTW, what was the name of the genre pioneering band you were in again? And how many successful solo albums have you released since you left to strike out on your own? What did you do to improve on the "performance and production" each and every time?
You are SO wrong, for SO MANY different reasons...