Tangerine Dream

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风格: #前卫摇滚　#德国前卫摇滚　#实验电子　#氛围音乐　#电子
地区: Germany 德国

艺人介绍

Tangerine Dream 橘梦乐团是德国最老牌的电子音乐先驱团体，成立于1967年，创立者 Edgar Froese 原修习绘画与雕塑。

橘梦乐团团员来来去去只有 Edgar Froese 是基本班底。早期成员有 Klaus Schulze，但乐团最稳定，影响力也最大的70年代中期，成员为 Froese、Christopher Franke 与 Peter Baumann。

Tangerine Dream 橘梦乐团，曾获得七次葛莱美奖提名的殊荣，在电子音乐发展上，不断引领着音乐时尚潮流，扮演着举足轻重的地位。

自从90年代兴起一阵 Post Rock 风，而影响 Post Rock 最深的，则以德国70年代的 Krautrock 为最主要；而此乐派中又以 Tangerine Dream 橘梦乐团最为全球乐迷所耳熟能详。

从1967年灵魂人物 Edgar Froese 取材Beatles名曲《Lucy In The Sky With Diamonds》歌词，而以“Tangerine Dream”开始了一段漫长的音乐之旅，这其中虽然团员更动频繁，但 Edgar Froese 却始终抱持着创作既实验而又通俗化的理念，不断推出新的音乐风格，从 Experimental Electronic Music、Progressive Rock、New Wave、New Age、World Music、Ambient、Trance 等不胜枚举。

历经了30多年头，Tangerine Dream 依然创作火力十足，一枝独秀的在摇滚乐与电子舞曲潮流中独领风骚。

除了专辑发表，Tangerine Dream 也跨足电影、电视纪录片、剧场、展览会等文化活动的配乐工作，十足展现了他们旺盛的企图心与惊人的才华。

乐队发展史

Tangerine Dream 橘梦乐团的发展经历了四个阶段：60年代末到70年代早期的实验音乐阶段；70年代中期尝试运用电子合成器与音序器的阶段，这也是乐队最受关注的时期；80年代，步入电影音乐创作的阶段；最后则是他们在电子舞曲的领域中大展宏图的阶段。

乐队队员几经变动，创始人 Edgar Froese 是唯一一位从头到尾参与其中的队员。Edgar Froese 于1944年出生在东普鲁士的Tilsit，他从小受到达达主义及超现实主义艺术的影响，从中吸取了大量灵感。在文学上 Gertrude Stein、Henry Miller、Walt Whitman 也对他都产生了积极的影响。在60年代中期，在西班牙的著名超现实主义画家 Salvador Dali 的居所，Edgar Froese 组织了几次有多种艺术形式参与的表演活动。

他也加入了一支叫做“The Ones”的小乐团，在他们的第一支单曲刚刚发行后，这个乐团也就解散了。

1968年 Tangerine Dream 的最初的阵容确立了下来，吉他手是 Froese，贝司手是 Kurt Herkenberg，鼓手是 Lanse Hapshash，还有两个吹奏手 Voker HomBach 和 Charlie Prince。他们很块便联络到美国的酸性摇滚乐队 the Grateful Dead、Jefferson Airplane 在柏林的附近进行了大量的演出。

1969年，Froese 改组了乐队，吸收了两名新的成员（吹奏手 Conrad Schnitzler 和鼓手 Klaus Schulze）后成了个3人乐队。1970年，这个乐队的出版了第一张LP《Electronic Meditation》。这张唱片运用普通的技术手段和简单的乐器搭配创造出来了一种实验性的音乐气氛。

这时乐队又一次解散了。鼓手 Christopher Franke 和风琴手 Steve Schroeder 很快被Froese吸收了进来。一年后 Steve Schroeder 又离开了乐队，当风琴手 Peter Baumann 加入的时候，乐队进入了较稳定的一个时期，直到1977年 Peter Baumann 的离去。

1971年乐队的唱片《Alpha Centauri》和随后一年的《Zeit》中，在这两张唱片里，乐队运用了电子合成器，太空音乐的风格也逐渐的成熟起来。1973年《Atem》的发表震惊了欧洲大陆内外，他们也得到了与Virgin唱片的5年合约。他们的一支单曲被电影《The Exorcist 驱魔人》使用。《Phaedra》使他们打进了英国排行榜的前20名，他们也在全球得到了广泛的歌迷。从此以后他们继续此种风格并加入了更多的乐器，也同样得到了成功，在1978年的唱片《Vocals》中他们加入了人声，但这受到了歌迷的强烈反对。

1978年 Baumann 离队后，Steve Joliffe 以及以后的 Johannes Schmoelling 又相继加入。1980年在西方铁幕政策的政治氛围笼罩下，Froese、Christopher Franke、Schmoelling 这三个 Tangerine Dream 成员在东柏林举行了一场现场演出，1981年他们与慕尼黑交响乐团管弦乐队在电视台进行了表演。在80年代中期，他们加入了大量电影音乐的创作中。比如电影《Risky Business》、《The Keep》、《Flashpoint》、《Firestarter》、《Vision Quest》等等。1988年 Schmoelling 离队，Paul Haslinger 和加入很短时间的 Ralf Wadephul 被吸收了进来。1988年的唱片《Optical Race》在曾经的乐队成员 Peter Baumann 的私人录音室录制。

Haslinger离队后，Edgar Froese 的儿子成了乐队的固定成员。

作品列表

录音室专辑

(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 圣女贞德

(2005年) Phaedra 2005

影视原声专辑

(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

现场演出专辑

(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.

Tangerine Dream　橘梦乐团

艺人介绍

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