The long-awaited revival of the Edgar Froese (RIP) legacy of the fusion of Tangerine Dream electronic music and the electric guitar (with all due respect to the guest six stringers since Edgar’s departure for heaven). Marillion’s supremely melodic Steve Rothery working together with musical director Torsten Quaeschning , who has taken on the role of keeping the Dream alive and kicking, is a breath of fresh air that can only bode well for the future. Rothery has proven with his solo ventures ‘Ghost of Pripyat’ and its live version as being astute enough to not remain in a classic neo-prog funnel but to branch out into instrumental forays which were massively received critically in the music community. We had a hint already that something may be brewing with the guitarist guesting on CD2 track ‘Cloudburst Finish’ on Tangerine Dream’s recent 3 Cd set ‘From Virgin to Quantum Years’. The addition of a live drummer in Alex Reeves of Elbow completes the deal. Needless to state that the cinematographic nature of the legendary German band is solidly cemented in its massive discography (an output unmatched in history).
“Vanishing Point” comes in three slices, clocking into nearly 20 minutes of auditory weaving, a synthesized serenity in full glorious display, an endless moving image as it wanders over the sonic horizon. The sequencers and the light percussive feel only serve the atmosphere, as Rothery infuses calming electric phrasings into the mix. No hint of any drone buzzing in the sky, just wave after wave of intrigue and sensation. The second part really cooks up quite the dusty storm, as if a ‘habub’ decided to reshape the dunes, one granule of sand at a time. The interplay between the lush electronics and the glittering guitar is simply impossible to qualify and hits the senses with mesmerizing hypnosis. The massive third slice is another universe altogether, as the audio camera moves into an alternate vista, as if reaching an oasis of tranquility and its ensuing appeasement of any physical exertion, the atmosphere overtly otherworldly and introspective. There is no rush or exaltation that could trouble the ongoing journey, like a resolute caravanserai crossing the desert in sun-drenched splendor. The swooning melody and the kind tempo are both absolutely gorgeous, as if eternally intertwined. Rothery flutters like an electrical mirage, exposing whatever one wishes to envision in their own mind, a master of restraint and effect. The final passage is pure unadulterated bliss, relaxing the soul, after such an arduous voyage. A masterclass of electronic prog genius.
“Gento” is Japanese word for magic lantern, and as the title may suggest, the hypnotic gentleness of that culture is reflected in the atmosphere displayed, though at times pulsed by a noteworthy percussive element, as Torsten combines a sequenced undertow with over-the-top orchestral adornments, leaving Steve to stretch out some sustained thrills on his trusted guitar. The ambient arrangement becomes mind music again, like the delicate ripples in a pond caused by rain drops instead of stones. A distant train passes by in the distance, showing continuation of the trek. How organic is that imagery?
The central section of the album settles into cruise control, with “Kinetoscope” in two parts settling in for the nearly 13-minute ride. Here, Torsten lays down the magic carpet ride on which Steve can improvise on , a perfectly vaporous composition that shoots down the silly theory that all electronic music sounds alike. Well, you need to listen and not hear then! It does require some conscious effort, though fully rewarding when you do get it (as proven by the 48 TDream releases in my collection).
Keeping the flow perpetually intriguing, the piano comes to the forefront on “Bioscope” and its three segments, as befits a title track worthy of its name. Here again, we have nearly 13 minute of vibrant textural work, a seamless synergy between the ivories and the fretboards that would make most musicians gasp in admiration, where one can find a daring synthesized bass pooling majestically, opening up the Rothery guitar finesse in the most melodic deliverance possible, the orchestrations stunning and the resolute beat keeping it all in tow. The second part shows a raunchier guitar phrasing, stupendously brawny drum support from Reeves (who is quite the revelation here) and a definite increase in the overall delivery, providing rockier elements of progressive electronic. The third quadrant comes as a release of all the pent-up exaltation, masterfully combining the previous two passages with a coronation of sound that will leave anyone breathless. A technical knockout onto the canvas of time.
The final curtain drops on the bustling “Kaleidoscope” , propelled mercilessly by Reeves’ pummeling drums and Rothery in definite ‘rifferama’ mode, carving firmly and confidently, as Torsten lathers on the symphonic charm. At one point, I thought I was listening to an Ultravox’s Vienna cover without the vocals, it was that muscular. A phantasmagoria of sound and fury that seals the deal, stamps the crimson wax with Phaedrian reminiscence of such a celebrated legacy. More please.
Easily among the top albums of 2025 by the time we reach the last days of December, outclassing anything in the electronic genre by a country kilometer, and right up there on the podium with all the classic Tangerine Dream albums.
5 Moving Pictures