Review Summary: Another impressive album of the band. Shows a perfect blend of guitar and synths.
“Stratosfear” is the seventh studio album of Tangerine Dream that was released in 1976. The line up on the album is Edgar Froese, Christopher Franke and Peter Baumann.
Tangerine Dream is considered the greatest link between prog and electronic music in the last century. Tangerine Dream had different phases. The first phase, between 1969 and 1973, reflects a strong influence of early Pink Floyd’s psychedelic work. It comprises the first four studio albums of the band, “Electronic Meditation” of 1970, “Alpha Centauri” of 1971, “Zeit” of 1972 and “Atem” of 1973. These years became known as “The Pink Years”. The second phase, between 1974 and 1983, represents the transition, with keyboards, synthesizers and sequencers being used in their own way. It comprises their next eleven studio albums, “Phaedra” of 1974, “Rubycon” of 1975, “Stratosfear” of 1976, “Sorcerer” of 1977, “Cyclone” of 1978, “Force Majeure” of 1979, “Tangram” of 1980, “Exit” and “Thief” of 1981, “White Eagle” of 1982 and “Hyperborea” of 1983. This phase also includes their first three live albums, “Ricochet” of 1975, “Encore” of 1977 and “Logos Live” of 1983. These were the years that became known as “The Virgin Years”.
The futuristic sound of Tangerine Dream has influenced several generations and is still remembered today for the absolute singularity that it carried in its productions. This is even more evident when we are talking about the 70’s, especially about their albums that belong to “The Virgin Years”. That was also their golden era that is also the phase with their best line up, which comprises Edgar Froese, Christopher Franke and Peter Baumann. It’s particularly evident with their albums “Phaedra”, “Rubycon” and “Ricochet” that are considered the three main masterpieces of Tangerine Dream. Even in that period they released “Cyclone”, which is the only album of their discography with vocals.
“Stratosfear” is their last album with trio Baumann, Franke and Froese. It shows the desire to advance past their stellar recent material and stake out a new musical direction. “Stratosfear” took the style that had been developed on the three previous albums into slicker, more melodic and slightly less abstract territory. It was the first album since their debut to not feature a side-long track. However, “Stratosfear” still is an album consisting of only four songs, where two of them were over ten minutes, cannot be accused of being a commercial sell-out, not even by 70’s standards. The organic instruments take more of a textural role, embellishing the effects instead of working their own melodic conventions. “Stratosfear” is also the beginning of a more evocative approach for Tangerine Dream. “Stratosfear” marked the beginning of the band’s evolution from their earlier 70’s synthesizer experiments towards a more recognizable and melodic sound. It contains even a stronger blend of Tangerine Dream’s acoustic and electronic influences than before.
The title track opens with some relaxed and pleasant chords on guitar, which creates an atmosphere that fits the track well. The electronic rhythms then start, introducing one of the best and most recognizable melodies Tangerine Dream ever wrote. “Big Sleep In Search Of Hades” starts with a harpsichord laying the foundation for a little melody played on Mellotron-flute that quickly gets stopped by a sinister synth-theme followed by some dark Mellotron strings. The mid-part sounds are eastern influenced. “3 AM At The Border Of The Marsh From Okefenokee” introduced something as unlikely as harmonica to the sound. But, it was used entirely just as an atmospheric effect on the beginning and end of the track. Most of the composition is made up of a pleasant electronic rhythm that slowly moves forward and evolves while Mellotron-flute and atmospheric synths are gracefully on top of it. “Invisible Limits” is the lengthiest track on the album. The funky guitar style on the slowly building opening adds some 70’s influences. The opening climaxes in a loud burst of Mellotron before slowing down to a melodic and laidback guitar theme leads into far faster and energetic electronic rhythms. The finale sounds quite emotional with its melodic grand piano and longing synth lines.
Conclusion: “Stratosfear” represented the natural and necessary evolution from the previous albums and that at a time when Tangerine Dream still could change within their signature sound. By treating the sequencers as a third instrument rather than an electronic foundation, “Stratosfear” builds on the softer moments creating a surprisingly warm immediate album. The cyclical nature of the arrangements gives the impression of individual songs rather than a single, epic tone poem. The brisk pacing and accessible melodies would continue to play a prominent role in their subsequent work, especially on “Force Majeure” and “Tangram”. As I mentioned before, “Stratosfear” would be the last studio album from the trio Baumann, Franke and Froese and many rank it as one of the best from this fruitful period. And if you like “Stratosfear”, you definitely also should listen to Baumann’s first solo studio album “Romance 76”.
Music was my first love.
John Miles (Rebel)
