This 4-minute track also sets the whole mood for the album dark, desolate, 'abandon-all-hope' type of gloom and sense of tragedy mixed with far out trippy spaciousness.Ĭoming next is 13-minute 'Fly and Collision of Comas Sola', which appears to be the most structured composition on the album, opening with trippy violent pulsating VCS3 signals, then followed by fading in of another chord progression in minor A, played on guitar this time around, which forms as a backdrop for more medieval organ melodies and also melancholic flute improvisations, played by guest Udo Dennebourg. 'Sunrise in the Third System' opens up with delicate plucking of a harp-like instrument which gives way for church like organ playing a meandering pseudo-classical chord progression in the minor A key, which resembles the final part of Pink Floyd's 'A Saucerful Of Secrets' with Edgar Froese's eerie ghost-like moaning glissando guitar taking the centre-stage in the composition.

Original Side 1 had two shorter songs, which were one foot stuck in the original Pink Floyd-ish psychedelic space rock influences, and other foot stepping to the furthest reaches of unworldly cosmos in its avant-garde electronics, whereas side 2 would embrace the latter paradigm fully. Recorded in January 1971, this album consists of three pieces.

Exit (most of the) rock influences, enter synthesizer experimentation and space themes. Not only did the line-up change drastically, but the music was about to change as well. After Electronic Meditation, changes would come: exit Shnitzler and Schulze, enter Christopher Franke and Steve Schroyder, the latter being an organist who was however kicked out of the band after recording the second album, the former being a multi-talented young 17-year old drummer also having interest in the works of Stockhausen and Ligeti, and who had acquired a VCS-3 synthesizer. The line-up consisted of, besides guitarist Edgar Froese, multi-instrumentalist Conrad Schnitzler and drummer Klaus Schulze, both of whom became solo artists using mainly electronics, just as would Tangerine Dream subsequently. Rather, it was a jam session made by a psychedelic rock band interested in improvisation and unusual unconventional sound experimentation, which was marred by being a bit too unfocused. Featuring interviews with former members, contemporaries and collaborators including Thief director Michael Mann and Froese’s wife Bianca, it should provide fascinating insight into this pioneering band.Ī Kickstarter campaign to fund the documentary begins in May.The first Tangerine Dream album, called 'Electronic Meditation' did not contain any synthesizer, which makes it an anomaly in the band's catalog, who's made reputation by using all the cutting edge synth technology in past three or four decades. Sadly, Froese passed away last year, so what was originally conceived as a mini-documentary has been fleshed out into an in-depth look into all that is Tangerine Dream. Their soaring sonics have even crept into popular culture in the 21st Century, scoring the soundtrack for Rockstar’s infamous Grand Theft Auto V. Labelled the “Pink Years”, the early albums made a big impression on many of their peers. In fact, founding member Edgar Froese coined the term “kosmiche” as he searched for a word to describe the music on sophomore LP, Alpha Centauri. It’s impossible to ignore the band’s impact on the development of krautrock either. From Risky Business to Thief, their distinctive sound was almost ubiquitous at a time. With over 100 albums under their belt, Tangerine Dream are undoubtably one of the most prolific bands of all time.

Tangerine dream