Tangerine Dream

Tangerine Dream 橘夢(mèng)樂(lè)團(tuán) 是德國(guó)最老牌的電子音樂(lè)先驅(qū)團(tuán)體，成立于1967年，創(chuàng)立者 Edgar Froese 原修習(xí)繪畫(huà)與雕塑。
 
橘夢(mèng)樂(lè)團(tuán)團(tuán)員來(lái)來(lái)去去只有 Edgar Froese 是基本班底。早期成員有 Klaus Schulze，但樂(lè)團(tuán)最穩(wěn)定，影響力也最大的70年代中期，成員為 Froese、Christopher Franke 與 Peter Baumann。
 
Tangerine Dream 橘夢(mèng)樂(lè)團(tuán)，曾獲得七次葛萊美獎(jiǎng)提名的殊榮，在電子音樂(lè)發(fā)展上，不斷引領(lǐng)著音樂(lè)時(shí)尚潮流，扮演著舉足輕重的地位。
 
自從90年代興起一陣 Post Rock 風(fēng)，而影響 Post Rock 最深的，則以德國(guó)70年代的 Krautrock 為最主要；而此樂(lè)派中又以 Tangerine Dream 橘夢(mèng)樂(lè)團(tuán) 最為全球樂(lè)迷所耳熟能詳。
 
從1967年靈魂人物 Edgar Froese 取材Beatles名曲《Lucy In The Sky With Diamonds》歌詞，而以“Tangerine Dream”開(kāi)始了一段漫長(zhǎng)的音樂(lè)之旅，這其中雖然團(tuán)員更動(dòng)頻繁，但 Edgar Froese 卻始終抱持著創(chuàng)作既實(shí)驗(yàn)而又通俗化的理念，不斷推出新的音樂(lè)風(fēng)格，從 Experimental Electronic Music、Progressive Rock、New Wave、New Age、World Music、Ambient、Trance 等不勝枚舉。
 
歷經(jīng)了30多年頭，Tangerine Dream 依然創(chuàng)作火力十足，一枝獨(dú)秀的在搖滾樂(lè)與電子舞曲潮流中獨(dú)領(lǐng)風(fēng)騷。
 
除了專輯發(fā)表，Tangerine Dream 也跨足電影、電視紀(jì)錄片、劇場(chǎng)、展覽會(huì)等文化活動(dòng)的配樂(lè)工作，十足展現(xiàn)了他們旺盛的企圖心與驚人的才華。
 
樂(lè)隊(duì)發(fā)展史
 
Tangerine Dream 橘夢(mèng)樂(lè)團(tuán) 的發(fā)展經(jīng)歷了四個(gè)階段：60年代末到70年代早期的實(shí)驗(yàn)音樂(lè)階段；70年代中期嘗試運(yùn)用電子合成器與音序器的階段，這也是樂(lè)隊(duì)最受關(guān)注的時(shí)期；80年代，步入電影音樂(lè)創(chuàng)作的階段；最后則是他們?cè)陔娮游枨念I(lǐng)域中大展宏圖的階段。
 
樂(lè)隊(duì)隊(duì)員幾經(jīng)變動(dòng)，創(chuàng)始人 Edgar Froese 是唯一一位從頭到尾參與其中的隊(duì)員。Edgar Froese 于1944年出生在東普魯士的Tilsit，他從小受到達(dá)達(dá)主義及超現(xiàn)實(shí)主義藝術(shù)的影響，從中吸取了大量靈感。在文學(xué)上 Gertrude Stein、Henry Miller、Walt Whitman 也對(duì)他都產(chǎn)生了積極的影響。在60年代中期，在西班牙的著名超現(xiàn)實(shí)主義畫(huà)家 Salvador Dali 的居所，Edgar Froese 組織了幾次有多種藝術(shù)形式參與的表演活動(dòng)。
 
他也加入了一支叫做“The Ones”的小樂(lè)團(tuán)，在他們的第一支單曲剛剛發(fā)行后，這個(gè)樂(lè)團(tuán)也就解散了。
 
1968年 Tangerine Dream 的最初的陣容確立了下來(lái)，吉他手是 Froese，貝司手是 Kurt Herkenberg，鼓手是 Lanse Hapshash，還有兩個(gè)吹奏手 Voker HomBach 和 Charlie Prince。他們很塊便聯(lián)絡(luò)到美國(guó)的酸性搖滾樂(lè)隊(duì) the Grateful Dead、Jefferson Airplane 在柏林的附近進(jìn)行了大量的演出。
 
1969年，F(xiàn)roese 改組了樂(lè)隊(duì)，吸收了兩名新的成員（吹奏手 Conrad Schnitzler 和鼓手 Klaus Schulze）后成了個(gè)3人樂(lè)隊(duì)。1970年，這個(gè)樂(lè)隊(duì)的出版了第一張LP《Electronic Meditation》。這張唱片運(yùn)用普通的技術(shù)手段和簡(jiǎn)單的樂(lè)器搭配創(chuàng)造出來(lái)了一種實(shí)驗(yàn)性的音樂(lè)氣氛。
 
這時(shí)樂(lè)隊(duì)又一次解散了。鼓手 Christopher Franke 和風(fēng)琴手 Steve Schroeder 很快被Froese吸收了進(jìn)來(lái)。一年后 Steve Schroeder 又離開(kāi)了樂(lè)隊(duì)，當(dāng)風(fēng)琴手 Peter Baumann 加入的時(shí)候，樂(lè)隊(duì)進(jìn)入了較穩(wěn)定的一個(gè)時(shí)期，直到1977年 Peter Baumann 的離去。
 
1971年樂(lè)隊(duì)的唱片《Alpha Centauri》和隨后一年的《Zeit》中，在這兩張唱片里，樂(lè)隊(duì)運(yùn)用了電子合成器，太空音樂(lè)的風(fēng)格也逐漸的成熟起來(lái)。1973年《Atem》的發(fā)表震驚了歐洲大陸內(nèi)外，他們也得到了與Virgin唱片的5年合約。他們的一支單曲被電影《The Exorcist 驅(qū)魔人》使用?！禤haedra》使他們打進(jìn)了英國(guó)排行榜的前20名，他們也在全球得到了廣泛的歌迷。從此以后他們繼續(xù)此種風(fēng)格并加入了更多的樂(lè)器，也同樣得到了成功，在1978年的唱片《Vocals》中他們加入了人聲，但這受到了歌迷的強(qiáng)烈反對(duì)。
 
1978年 Baumann 離隊(duì)后，Steve Joliffe 以及以后的 Johannes Schmoelling 又相繼加入。1980年在西方鐵幕政策的政治氛圍籠罩下，F(xiàn)roese、Christopher Franke、Schmoelling 這三個(gè) Tangerine Dream 成員在東柏林舉行了一場(chǎng)現(xiàn)場(chǎng)演出，1981年他們與慕尼黑交響樂(lè)團(tuán)管弦樂(lè)隊(duì)在電視臺(tái)進(jìn)行了表演。在80年代中期，他們加入了大量電影音樂(lè)的創(chuàng)作中。比如電影《Risky Business》、《The Keep》、《Flashpoint》、《Firestarter》、《Vision Quest》等等。1988年 Schmoelling 離隊(duì)，Paul Haslinger 和加入很短時(shí)間的 Ralf Wadephul 被吸收了進(jìn)來(lái)。1988年的唱片《Optical Race》在曾經(jīng)的樂(lè)隊(duì)成員 Peter Baumann 的私人錄音室錄制。
 
Haslinger離隊(duì)后，Edgar Froese 的兒子成了樂(lè)隊(duì)的固定成員。
 
作品列表
 
錄音室專輯
(1970年) Electronic Meditation
(1971年) Alpha Centauri
(1972年) Zeit
(1973年) Atem
(1974年) Phaedra
(1975年) Rubycon
(1976年) Stratosfear
(1978年) Cyclone
(1979年) Force Majeure
(1980年) TAngram
(1981年) Exit
(1982年) White Eagle
(1983年) Hyperborea
(1985年) Le Parc
(1986年) Green Desert (originally recorded in 1973)
(1986年) Underwater Sunlight
(1987年) Tyger
(1988年) Optical Race
(198@年) Lily On The Beach
(1990年) Melrose
(1992年) Rockoon
(1992年) Quinoa
(1994年) Turn of the Tides
(1995年) Tyranny of Beauty
(1996年) Goblins Club
(1999年) Mars Polaris
(2000年) The Seven Letters From Tibet
(2004年) Purgatorio
(2005年) Kyoto (1983 tapes of Froese and Schm?lling)
(2005年) Jeanne d'Arc 圣女貞德
(2005年) Phaedra 2005
 
影視原聲專輯
(1977年) Sorcerer
(1981年) Thief
(1983年) Risky Business
(1984年) Firestarter
(1985年) Fright Night
(1985年) Red Heat
(1985年) Legend (U.S. theatrical version)
(1987年) Near Dark
(198@年) Miracle Mile
(1996年) Oasis
(2003年) Mota Atma
 
現(xiàn)場(chǎng)演出專輯
(1975年) Ricochet
(1977年) Encore
(1980年) Pergamon (1986 title, formerly Quichotte)
(1984年) Poland
(1983年) Logos
(1988年) Live Miles (originally Livemiles)
(1999年) 220 Volt
(1999年) Sohoman (Live in Sydney 1982)
(2000年) Soundmill Navigator
(2002年) Inferno
(2003年) Rockface (Live in Berkley 1988)
(2003年) The Bootleg Box Set Vol. 1 (compilation)
(2004年) The Bootleg Box Set Vol. 2 (compilation)
(2004年) East (Live in Berlin 1990)
(2004年) Arizona (Live in Scottsdale 1992)
(2005年) Vault 4 (Live in Brighton U.K. 1986, Live in Cleveland U.S.A 1986)
(2005年) Rocking Mars (Live at Klangart Festival 1999 in Osnabrück)
 
by John Bush
 
Without doubt, the recordings of Tangerine Dream have made the greatest impact on the widest variety of instrumental music during the 1980s and 90s, ranging from the most atmospheric new age and space music to the harshest abrasions of electronic dance. Founded in 1967 by Edgar Froese in Berlin, the group has progressed through a full three dozen lineups (Froese being the only continuous member with staying power) and four distinct stages of development: the experimentalist minimalism of the late 60s and early 70s; stark sequencer trance during the mid- to late 70s, the groups most influential period; an organic form of instrumental music on their frequent film and studio work during the 1980s; and, finally, a more propulsive dance style, which showed Tangerine Dream with a sound quite similar to their electronic inheritors in the field of dance music.
 
Froese, born in Tilsit, East Prussia in 1944, was little influenced by music while growing up. Instead, he looked to the Dadaist and Surrealist art movements for inspiration, as well as literary figures such as Gertrude Stein, Henry Miller and Walt Whitman. He organized multimedia events at the residence of Salvador Dali in Spain during the mid-60s and began to entertain the notion of combining his artistic and literary influences with music; Froese played in a musical combo called the Ones, which recorded just one single before dissolving in 1967. The first lineup of Tangerine Dream formed later that year, with Froese on guitar, bassist Kurt Herkenberg, drummer Lanse Hapshash, flutist Voker Hombach and Charlie Prince. The quintet aligned itself with contemporary American acid rock (the Grateful Dead, Jefferson Airplane), and played around Berlin at various student events. The lineup lasted only two years, and by 1969 Froese had recruited wind player Conrad Schnitzler and drummer Klaus Schulze. One of the trios early rehearsals, not originally intended for release, became the first Tangerine Dream LP when Germanys Ohr Records issued Electronic Meditation in June 1970. The LP was a playground for obtuse music-making — keyboards, several standard instruments, and a variety of household objects were recorded and filtered through several effects processors, creating a sparse, experimentalist atmosphere.
 
Both Schulze and Schnitzler left for solo careers later in 1970, and Froese replaced them the following year with drummer Christopher Franke and organist Steve Schroeder. When Schroeder left a year later, Tangerine Dream gained its most stable lineup core when organist Peter Baumann joined the fold. The trio of Froese, Franke and Baumann would continue until Baumanns departure in 1977, and even then, Froese and Franke would compose the spine of the group for an additional decade.
 
On 1971s Alpha Centauri and the following years Zeit, the trios increased use of synthesizers and a growing affinity for space music resulted in albums that pushed the margin for the style. Atem, released in 1973, finally gained Tangerine Dream widespread attention outside Europe; influential British DJ John Peel named it his LP of the year, and the group signed a five-year contract with Richard Bransons Virgin Records. Though less than a year old, Virgin had already become a major player in the recording industry, thanks to the massive success of Mike Oldfields Tubular Bells (widely known for its use in the film The Exorcist).
 
Tangerine Dreams first album for Virgin, Phaedra, was an milestone not only for the group, but for instrumental music. Branson had allowed the group free rein at Virgins Manor Studios, where they used Moog synthesizers and sequencers for the first time; the result was a relentless, trance-inducing barrage of rhythm and sound, an electronic update of the late-60s and early-70s classical minimalism embodied by Terry Riley. Though mainstream critics were unsurprisingly hostile toward the album (it obviously made no pretense to rock & roll in any form), Phaedra broke into the British Top 20 and earned Tangerine Dream a large global audience.
 
The follow-ups Rubycon and the live Ricochet were also based on the blueprint with which Phaedra had been built, but the release of Stratosfear in 1976 saw the use of more organic instruments such as untreated piano and guitar; also, the group added vocals for 1978s Cyclone, a move which provoked much criticism from their fans. Both of these innovations didnt change the sound in a marked degree, however; their incorporation into rigid sequencer patterns continued to distance Tangerine Dream from the mainstream of contemporary instrumental music.
 
Baumann left for a solo career in 1978 (later founding the Private Music label), and was replaced briefly by keyboard player Steve Joliffe and then Johannes Schmoelling, another important member of Tangerine Dream who would stay until the mid-80s. In 1980, the Froese/Franke/Schmoelling lineup was unveiled at the Palast der Republik in East Berlin, the first live performance by a Western group behind the Iron Curtain. Tangerine Dream also performed live on TV with the Munich Philharmonic Orchestra one year later, and premiered their studio work on 1980s Tangram.
 
Mike Oldfield had shown the effectiveness of using new instrumental music forms as a bed for film on Tubular Bells, and in 1977 The Exorcists director William Friedkin had tapped Tangerine Dream for soundtrack work on his film Sorcerer. By the time the new lineup stabilized in 1981, Hollywood was knocking on the bands door; Tangerine Dream worked on the soundtracks to more than 30 films during the 1980s, among them Risky Business, The Keep, Flashpoint, Firestarter, Vision Quest and Legend. If the idea of standalone electronic music hadnt entered the minds of mainstream America before this time, the large success of these soundtracks (especially Risky Business) entrenched the idea and proved enormously influential to soundtrack composers from all fields.
 
Despite all the jetting between Hollywood and Berlin, the group continued to record proper LPs and tour the world as well. Hyperborea, released in 1983, was their last album for Virgin, and a move to Zomba/Jive Records signaled several serious changes for the band during the late 80s. After the first Zomba release (a live concert recorded in Warsaw), 1985s Le Parc marked the first time Tangerine Dream had flirted with sampling technology. The use of sampled material was an important decision to make for a group which had always investigated the philosophy of sound and music with much care, though Le Parc was a considerable success — both fans and critics calling it their best LP in a decade. Tyger, released in 1987, featured more vocals than any previous Tangerine Dream LP, and many of the groups fans were quite dispirited in their disfavor.
 
Schmoelling left in 1988, to be replaced by the classically trained Paul Haslinger and (for a brief time) Ralf Wadephul. Optical Race, released in 1988, was the first Tangerine Dream album to appear on old bandmate Peter Baumanns Private Music Records. Several more albums followed for the label, after which Haslinger left to work on composing filmscores in Los Angeles. His replacement, and the only other permanent member of Tangerine Dream since, was Edgars son Jerome Froese (whose photo had graced the cover of several TD albums in the past). Another record-label change, to Miramar, preceded the release of 1992s Rockoon, which earned Tangerine Dream one of their seven total Grammy nominations. In the mid-90s, the music of Tangerine Dream increasingly began to reflect the groups influence on a generation of electronica and dance artists. The duo continued to record and release live albums, remix albums, studio albums, and soundtracks at the rate of about two albums per year into the late 90s. Bringing back founding member Edgar Froese for concerts during this period, the live Inferno documented their performance of Dantes classic novel by the same name.