Whether inter-classic or broadly defined as a piece of its golden spirit, the moral can grow up to the same manners: mostly everything composed or influence in Tangerine Dream, during the lush and lust period of so many years and so many incomparable gems, has the effect and the stun of the music and the style-star, from the discrete and even panted obscurant recording to the formidable acts of sequencing; an included art is the soundtracking, formed not by the slightest chance in a precocious way and time, but early performed and scaled, to later reach a phenomenon, a trend, a hysteria, a calm clench and what else.
The soundtrack business of Tangerine Dream has its brightest moments, and the coincidence is just inside the classic tempo, so vitally merged in the probably not exhaustive, but appointed excellent music-writs. The "classic" of the soundtrack parallels, also the big bounce that must have concluded such a tremendous fascination, offer and acceptance, later on the full index of soundtracks, are Sorcerer, of a deep cluster inside the pragmatically sadistic shape, and Thief, of the more digital and seductive manner. In fact, there's a stress in pointing out the utterly impressive and complete character between these two; and whilst the 1981 genuine touch has a popular vote, Sorcerer remains a dark pitch to dele with, and a more artistic flavor in which to find something that, not nocively, you can consider too much of a bleach and too intense of a fix form (barely meaning that the soundtracks, in detail, do have a tense character that doesn't fit the most perfect Dream).
Around the luckiest of all occasions (but also by the fact that the picture is frequently a name in that time; or at least that's how I see it), I've seen the movie and it's a tense thriller attitude, on the verge of dark and dim, on the point of a very interesting montage, and certainly by a mix that allows something from the background to overcast the dimensions and the threats inside all the cameo.
By Tangerine Dream, and strictly in the dome of its own stability, Sorcerer is an album reckoning and beckoning all the deep and sensible nature of electronic miniaturizing, suspense driving, synch collapsing and flavor experimenting, in a fluency that's both shapeless and godless, in a raise that's both equivocal and sample-junket, finally in a hollow imagination that resembles a good gloat art in the vein of a trio (Edgar Froese, Chris Franke, Peter Baumann), in itself, darkly fashioned. But just like there's a spoof and a contradiction in the good decision of it, Sorcerer is interestingly the minor gap between commode electronic subtleties, way to perfected by the trio's art reflex, and a priceless tag of sound-swarm, much too avowal though for a perfect and balance motion, notion and rooting of the electronic gasp so secretly awaited, so remorsefully advanced in style, but not in flavor. It's a small jangle necessary (or left in imprecision, better thought on) to appreciate the entire complexity as a talent and a sepsis, consequently, and to treat it as the best expression in times and marvel, but also the best possible expression, for a cut-on eccentricity.
Around 14 edged impressions , marks precisely a pulse of hypnotic to sound paralyzed casual mood, in the frail of depicting a tense, a swallowed or a marginalized thrilling act. Not totally in the mood of the picture and only in that, the soundtrack still cohabitates the most prominent audiotage character from the high spirit or recurring act inside the roll, and a pickling from Tangerine Dream's own recording poise and backdrops. Focusing on Sorcererbeing a movie's score, there is overall a nebulous feeling of small figments; not coherent, nor dumped in the esp. Vitalizing the idea that Sorcerer is a Tangerine classic (recommended), we great some great emotions in vitriol substances of the casual, even freely-gloomed, music spontaneous courage. The small but certain breed of rough sequencing, hollow sounding, dark trance and vivid oriel, tenacious crumples and tedious waves, plus a fright of its own suspense in creating a grey nuance and a passionate electrify, are details to contrast a really simple snatch of effects and contrast, and an impression which to please the usual glow inside a psycho-electro-diced chance.
Somehow too simple and ordinary to evoke much ravel on it, and too openly presented to hid the deepest sense, it's still a good and vibrant hallucination and murmur in it. This is, most proficiently, a three stars creation, boosted to a classic taste and an uncompromised of art-gored forms for the genre and the band's obvious verdant. And towards the imagery that such profound tenses become the past conclusion whenever too marginalized. Fanly or not, prototypically or tenacious, Sorcerer bounders the kind of easy on aberrant dimension in which the passion for dark and cleverly obscured tones to fit in, and to reach a composing value's greatest shine; and a trio's virtue of alienating the most intentional hypnosis, fright, foam or focus. A probe and a spate, an awake and a sleep, consequently.
(C) ProgArchives
Tracklist:
1. Main Title (5:28)
2. Search (2:54)
3. The Call (1:57)
4. Creation (5:00)
5. Vengeance (5:32)
6. The Journey (2:00)
7. Grind (3:01)
8. Rain Forest (2:30)
9. Abyss (7:04)
10. The Mountain Road (1:53)
11. Impressions Of Sorcerer (2:55)
12. Betrayal (Sorcerer Theme) (3:38)
Total Time: 43:53
Line-up / Musicians
- Peter Baumann / synthesizer, piano, keyboards, Mellotron, Arp, Fender Rhodes, sequencing.
- Edgar Froese / synthesizer, bass, guitar, piano, keyboards, Moog synthesizer, Mellotron, Oberheim, piano (Grand), Arp strings, Fender Stratocaster.
- Christopher Franke / synthesizer, Moog synthesizer, Mellotron, Arp, Elka, Oberheim, sequencing, digital sequencing.
Releases information:
LP MCA 2277 (1977) / LP Atlantic MC1646 (1977) / CD MCA MCF 2806
Buy it:
- Amazon (USA)
- Amazon (UK)
- Rhapsody
- Dada - The Music Movement
- Play.com
The soundtrack business of Tangerine Dream has its brightest moments, and the coincidence is just inside the classic tempo, so vitally merged in the probably not exhaustive, but appointed excellent music-writs. The "classic" of the soundtrack parallels, also the big bounce that must have concluded such a tremendous fascination, offer and acceptance, later on the full index of soundtracks, are Sorcerer, of a deep cluster inside the pragmatically sadistic shape, and Thief, of the more digital and seductive manner. In fact, there's a stress in pointing out the utterly impressive and complete character between these two; and whilst the 1981 genuine touch has a popular vote, Sorcerer remains a dark pitch to dele with, and a more artistic flavor in which to find something that, not nocively, you can consider too much of a bleach and too intense of a fix form (barely meaning that the soundtracks, in detail, do have a tense character that doesn't fit the most perfect Dream).
Around the luckiest of all occasions (but also by the fact that the picture is frequently a name in that time; or at least that's how I see it), I've seen the movie and it's a tense thriller attitude, on the verge of dark and dim, on the point of a very interesting montage, and certainly by a mix that allows something from the background to overcast the dimensions and the threats inside all the cameo.
By Tangerine Dream, and strictly in the dome of its own stability, Sorcerer is an album reckoning and beckoning all the deep and sensible nature of electronic miniaturizing, suspense driving, synch collapsing and flavor experimenting, in a fluency that's both shapeless and godless, in a raise that's both equivocal and sample-junket, finally in a hollow imagination that resembles a good gloat art in the vein of a trio (Edgar Froese, Chris Franke, Peter Baumann), in itself, darkly fashioned. But just like there's a spoof and a contradiction in the good decision of it, Sorcerer is interestingly the minor gap between commode electronic subtleties, way to perfected by the trio's art reflex, and a priceless tag of sound-swarm, much too avowal though for a perfect and balance motion, notion and rooting of the electronic gasp so secretly awaited, so remorsefully advanced in style, but not in flavor. It's a small jangle necessary (or left in imprecision, better thought on) to appreciate the entire complexity as a talent and a sepsis, consequently, and to treat it as the best expression in times and marvel, but also the best possible expression, for a cut-on eccentricity.
Around 14 edged impressions , marks precisely a pulse of hypnotic to sound paralyzed casual mood, in the frail of depicting a tense, a swallowed or a marginalized thrilling act. Not totally in the mood of the picture and only in that, the soundtrack still cohabitates the most prominent audiotage character from the high spirit or recurring act inside the roll, and a pickling from Tangerine Dream's own recording poise and backdrops. Focusing on Sorcererbeing a movie's score, there is overall a nebulous feeling of small figments; not coherent, nor dumped in the esp. Vitalizing the idea that Sorcerer is a Tangerine classic (recommended), we great some great emotions in vitriol substances of the casual, even freely-gloomed, music spontaneous courage. The small but certain breed of rough sequencing, hollow sounding, dark trance and vivid oriel, tenacious crumples and tedious waves, plus a fright of its own suspense in creating a grey nuance and a passionate electrify, are details to contrast a really simple snatch of effects and contrast, and an impression which to please the usual glow inside a psycho-electro-diced chance.
Somehow too simple and ordinary to evoke much ravel on it, and too openly presented to hid the deepest sense, it's still a good and vibrant hallucination and murmur in it. This is, most proficiently, a three stars creation, boosted to a classic taste and an uncompromised of art-gored forms for the genre and the band's obvious verdant. And towards the imagery that such profound tenses become the past conclusion whenever too marginalized. Fanly or not, prototypically or tenacious, Sorcerer bounders the kind of easy on aberrant dimension in which the passion for dark and cleverly obscured tones to fit in, and to reach a composing value's greatest shine; and a trio's virtue of alienating the most intentional hypnosis, fright, foam or focus. A probe and a spate, an awake and a sleep, consequently.
(C) ProgArchives
Tracklist:
1. Main Title (5:28)
2. Search (2:54)
3. The Call (1:57)
4. Creation (5:00)
5. Vengeance (5:32)
6. The Journey (2:00)
7. Grind (3:01)
8. Rain Forest (2:30)
9. Abyss (7:04)
10. The Mountain Road (1:53)
11. Impressions Of Sorcerer (2:55)
12. Betrayal (Sorcerer Theme) (3:38)
Total Time: 43:53
Line-up / Musicians
- Peter Baumann / synthesizer, piano, keyboards, Mellotron, Arp, Fender Rhodes, sequencing.
- Edgar Froese / synthesizer, bass, guitar, piano, keyboards, Moog synthesizer, Mellotron, Oberheim, piano (Grand), Arp strings, Fender Stratocaster.
- Christopher Franke / synthesizer, Moog synthesizer, Mellotron, Arp, Elka, Oberheim, sequencing, digital sequencing.
Releases information:
LP MCA 2277 (1977) / LP Atlantic MC1646 (1977) / CD MCA MCF 2806
Buy it:
- Amazon (USA)
- Amazon (UK)
- Rhapsody
- Dada - The Music Movement
- Play.com
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