Customer Reviews

Tunhaung

5 star:		(8)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

After having listened to this 1980 recording several times recently, I am still completely floored by this album. In fact, I still can't believe that I got this out of the New Age section and for only seven dollars.

As a fan of 1970s electronica and progressive rock, I was only vaguely familiar with Kitaro's work in the Far East Family Band, and even less familiar with his solo work: everything that I had read mentioned New Age this or New Age that. Only brief mention of Kitaro had been made in the prog circles, and upon consulting the Gibraltar Encyclopedia of Rock found that they had nothing to say about his solo work whatsoever apart from providing a discography and mentioning him only briefly in a huge section on the Far East Family Band. To further complicate matters, I have personally found three different release dates for this album (1980, 1981, and 1985) and the rest of his discography is equally confusing. As such, I entered into my first experience with the music of Kitaro blindly....more or less.

The instrumentation on this album is heavy on the analog synths and the dreamy, soft soundscapes that would not be out of place on a Tangerine Dream or (especially) Vangelis album from 1977 - 1979 are everywhere on Tun Huang (aka Silk Road 3). I would also throw 1975 Pink Floyd in there too, but that might be stretching it a bit...but not much I might add. The analog synthesizers used by Kitaro include instruments by Roland, Prophet (Prophet V), and Moog (mostly mini-moog), along with the mellotron - everything sounds incredibly warm and organic. Kitaro is also quite the multi-instrumentalist and plays a full drum kit and percussion on a few tracks, along with the sitar (on Lord of the Sand only), tabra, acoustic guitar, chanting bell, and wind chime. Joining Kitaro on this album is violinist Yasuo Kojima - he contributes some excellent playing.

It is however (as it should be), the music that has me so excited. It is richly textured, contemplative, deeply haunting and sad at times, exhilarating, sweeping - you get the idea. Musically, there is far, far too much going on in this recording to simply lump it with the static and motionless approach of ambient music or the homogenized mood pieces that characterize much of current New Age music. Harmonies are used to good effect, there is melodic counterpoint and dynamic range along with shifts in rhythm, not to mention variation in timbre. The pieces all flow together in one song-cycle suite which adds a bit of drama to the overall work, although there is a slight break between Tun Huang and Free Flight. All in all, this was a very nice way to draw the Silk Road trilogy to a close.

Well, stumbling upon this Kitaro album completely made my day and it is very highly recommended to electronica fans and open-minded proggers. For those folks that liked this album, you may also like Albedo 0.39 (Vangelis, 1976), Opera Sauvage (Vangelis, 1979), Force Majeure (Tangerine Dream, 1979), and Tangram (Tangerine Dream, 1980).

This was originally done during the peak of Kitaro's artistic talents, early to mid 80's. Smooth, flowing, melodic music that travels from one song to the next as a single organic piece of music. This was love at first hearing. There are several versions of this album: the original on the Canyon label, the US import on the Geffen label, and a new remastered version. The best by far is the orignal. I strongly recomend that you seek it out if you can. BTW, if you like this, you will also enjoy Ki, which came out immediately after Tunhaung.

I agree with the previous reviewer. This is music from an age when everyone important to New Age music was creating sublime vibes. This is also from the time when India was flowing through Kitaro's own life experience, as he sat at the feet of Osho Rajneesh. Deuter was there as well, and in fact, this is the only Kitaro release (perhaps with OASIS) that is in a class with Deuter's first 10 albums. Such was the dispensation of the 70s, such was the Buddhafield around the master... It does not matter what you think of Rajneesh -- just as it doesn't matter that The Incredible String Band reached their own highest peak while involved with Scientology. I haven't heard all of Kitaro's output, but I know SILK ROAD is considered the best of his early work. Wrong! Very wrong. Listen to this one for penetrating perfection. TUNHUANG is practically a symphony of zen-like meditation. Criminal that it's not too available now.

This is by far, my favorite Kitaro album, with Ki being a close second. There is no doubt in my mind, that this era was Kitaro's artistic peak. As with much of his albums at the time, Tunhuang is warm, smooth, lush, flowing and extremely melodic. Unfortunately, he changed his style when he became more popular in the US, so the early gems like this are no longer in print. If you can find this used, especially the Japanese pressing(superior to the US pressing), by all means get it. If you like Kitaro at all, you will like this album.

Just like Silk Road 1 & 2. Excellent new age ambient electronic music, Kitaro def. deserves to be in the close circle.

This CD is best played in a darkened room and at low volume. It's flow of tinkling tones soothes the soul as well as stimulates the mind. The best CD to fall asleep to. I normally find New Age music tedious and pretentious but this one is a gem.

This was described as the third album (1980?) of the ' Silk Road ' series. As the cover art suggests, the music is composed of a lush array of enchanting melodies and glistening timbres that are sensuously appealing above all.

' Mirage ' (track 2) impresses one with a charming, bittersweet air of flute and orchestra embellished with layers of glittering guitar and percussion melodies. The song reappeared in the 1988 album " Ten Years " as a virtuoso polyphony of glockenspiel, woodwind, violin, and more ambient timbres - another masterpiece with a modern bittersweet charm, which became the popular version ever since such that this original classical of ancient charm has almost gone into oblivion.

' Tunhuang ' (track 5) is probably the most amiable and affectionate song of all in the Kitaro repertoire, with an enticing opening tune of mandolin tremolo and flute, a poignant duet of violin and flute, and a warm and mellifluous symphonic air which evoke in one's mind pictures of joyous festivities of friends and lovers in the ancient orient - suitably cinematic.

In stark contrast are two shady and spellbinding pieces ' Lord of the Sand ' (4) and ' Mandala ' (7), especially when standing in parallel to the quiet flute air in ' Lord of the Wind ' (1) and the blissful ' Tao ' (8).

' Free Flight ' (6) stands out as a spacious soothing air, hummed with a slow and gentle brass, which was intensified later in the 1988 remix.

' Sacred Journey 1 & 2 ' both have the feel of a modern sacred song, one delicate and one upbeat, in balance to the ' sensual ' counterparts elsewhere.

In summary, all the compositions are melodic and entrancing in some ways, though lacking maturity in a number of places - a charming classical gem nevertheless in the wistful Kitaro music world.

Maybe it's because this was the first recording of Kitaro's that I heard. Maybe not. After all this time, it still reigns supreme as one of my favorite CD's. It certainly is my favorite Kitaro work. He's done so many fine recordings, but "Tunhuang" soars into the upper relms of beauty. Continuous, flowing melodies that build throughout the disc, culmitating in the sublime "Sacred Journey II". This disc is hard to find and a bit pricey but you owe it to yourself.

Again, it really makes the miles smooth out. Ebs and flows, even changes as the scenery does, I swear! I am switching to a cd version because I just got a new car that doesn't have cassettes. And this is the ONLY music I just have to have in cd out of many cassettes!

This is my favorite CD by Kitaro out of the several I own. Unlike some of his other work, each track on this CD is distinctly different from the rest. I find myself whistling a couple of the instrumentals when I'm not listening to it. A must buy for fans of Kitaro.