Customer Reviews

View From a Red Train

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

 

 

It is not as "hard" as 'Rockoon' and it is not as "soft" as 'Transsiberia'.

Of course, there are no real vocals and lyrics here. After the pleasant surprise of 'Madcap's Flaming Duty' I think this is the "following" studio release from TD: 'Views From a Red Train':

1. Carmel Calif (7:32)
2. Passing All Signs (6:14)
3. Leviathan (7:01)
4. Hunter Shot By A Yellow Rabbit (9:33)
5. Nutshell Awakening (6:38)
6. One Night In Space (6:56)
7. Serpent Magique (9:20)
8. Lord Of The Ants (9:41)
9. Fire On The Mountain (7:41)
10. Sound Of A Shell (6:42)

VFRT has lots of guitars without disturbing the melancholic moments. Sometimes it goes hard and sometimes it goes soft without loosing the momentum. In other words, this 'VFRT' release has all the necessary ingredients to make me play it again.

Immediately you will recognize the "Classic Tangerine Dream Sound" mixed with new elements and (again) lots of guitars from Edgar Froese (01,04,07,08,09,10) and Bernhard Beibl (01,03,05,06,10). At moments you will remember old TD tracks from all TD times; like (for example), the beginning of track 9 'Fire On The Mountain' is very similar to DM3 track 9 'The Spirit Of The Czar'.

I think VFRT is much better than Rockoon. The highlights here are 'Leviathan' and 'Hunter Shot By A Yellow Rabbit'. 'Leviathan' reminds me an old tune which I don't remember exactly from who or where (arghhh, it is killing me!). 'One Night In Space' is a little different version than the one included in the "Booster" release.

In short, all tracks are great and are carefully elaborated to include the "Classic TD Sound" on all of them.

VFRD is a 5 star music art!.

Saludos from Mexico City.

TANGERINE DREAM: Views from a Red Train

01. Carmel Calif: An all-round funky little number, most familiar to everyone who saw the group play it in Frankfurt, but this time shorn of Linda's sax, but panic not, Bernard's trade-mark fluid lead-guitar is still in evidence picking its way through Edgar's catchy plucked melody. The track ends with `ooh-ahh' choral sweeps whilst guitar notes fade in and out. Camel Calif only made the CD at the 11th hour but it's a great opener. (8/10)

02. Passing All Signs: A slow `rhythmless' string synth slips across the sound stage, followed by a few bubbling synth notes and virtual voices. They glide about slowly and classically. It's Edgar's skill as a composer (the combination of chords and bass notes) that keeps your interest here, it could fall into a syrupy new-agey mess, but he walks the line nicely, drawing the emotion out of unexpected places (7/10)

03. Leviathan: Inspired by Speed-heads on Lake Mirage (a salt lake 100 miles north of LA). The track starts with a rippling `Reich-lite' sequencer, over a 8th note bass pulse, louder and louder, and then a pounding 4 on the floor beat, static for 4 bars and then it's followed by a squelchy bass riff as sequences ripple and roll, a guitar riff kicks in, step forward Bernhard. He goes through every trick in the book, a little power here, a melodic riff there, on and off the beat, he once again shows exactly why Edgar uses him. The track cycles around and around, mesmeric, with a thumping rhythm from Thorsten, it's as solid as an elephant in concrete trainers. Around the 6 minute mark the piece slowly fades out. (10/10)

04. Hunter Shot By A Yellow Rabbit: `Hey yeah!, yeah!, yeah, yeah'...no not my OTT reaction to it, it's just the vocal opening to this track, whether it's real, sampled or virtual it doesn't really matter as it's soon added to by a plodding funereal-like bass drum, (here we're mourning the rabbits, armed to the teeth or otherwise) whilst a tiny mono-synth plays a plaintive melody, sequencers kick in, Iris adds some electro-rhythms as the energy builds and Edgar rips in with some guitar (not a million away from his playing on Blue Dawn) twisting and turning...a brief pause and then the `axe-man' Edgar is back. His craft is apparent here by the bucket-load, not a pop melody in sight, but if sonic character was fish, he'd have his own chain of sushi bars. A nice and unusual track! (9/10)

05. Nutshell Awakening: Far better than the version they played at the Alter Oper, there it was interesting without being outstanding. The album version comes replete with lilting guitar from Bernhard and skittering beats from Iris. Apparently Edgar composed it on a flight between LA and Osaka, now that's in-flight entertainment (7/10)

06. One Night In Space: A new mix of this already familiar track, but this time it comes with Bernhard's guitar, perhaps lifted/ copied from what he played in Frankfurt last year, and damned excellent it is to. Rather dry but right up in the mix, as the sequences roll around him, he jumps from power chords to rhythmic riffs, until he becomes a human sequencer (checkout his fingers on the Frankfurt DVD...it's like 10 eels head-banging on the fret board...amazing stuff...tasty fish!). (9/10)

07. Serpent Magique: Rumbling and rolling, the track hints at Madcap's Flaming duty and Summer in Nagasaki, with it's fizzing synths, and pulsing sequences, without being either, it slowly unveils a main rhythm, complete with programmed snare rolls and guitar from Edgar, foot stomping stuff with lots going on in the mix, but without anything really taking centre-stage, it reminded me of Dalinetopia in places, you'd never guess that Edgar's Laptop crashed in the Austrian snow (I'm sure the manual doesn't recommend this Edgar!) (7/10)

08. Lord Of The Ants: How the heck do you review a track like this? Fast tempo, with foot tapping rhythms, cycling synth-sequences, Edgar wailing away on his guitar, nothing outstanding until the last seconds and then there's a few notes of beautiful synths to tease you and then it's over (7/10)

09. Fire On The Mountain: Right out of Pete Namlook's rhythm draw comes a percussion loop jumps that into the mix `hand-in-hand' with a few hints of Summer in Nagasaki. A rather cheesy sequence is added, but fear not it comes accompanied with a bouncy companion, does Andy Pickford have any German relatives?.. no hang on here's Edgar's guitar. Overall a nice solid track (8/10)

10. Sound Of A Shell: My initial reaction to the start of this track was `Eh, have I got the right CD here'? it sounds like it should be the beginning of a Bjork song. With it's playful almost `innocent', echoing synth sequence. Don't worry though as it's soon added to by a warm wonderfully rounded bass pulse. Soft choir chord changes slip in almost un-noticed complete with soft `hey yeah' female vocals and percussion `crunches' to remind you a rhythm might be coming (and like a Berlin train it's bang on time). A double-tempo sequence is added, and the track builds with subtle changes to the sequence as it chugs on and on and its here that Edgar and Bernhard play their trump cards (well it's acoustic guitar really) and they quietly pick out a few notes each. The lightness of touch floored me on this track; it's a perfect way to end the album. An emotional kick to leave you moist eyed and fumbling for the repeat button, 6 minutes and 41 seconds of shear musical perfection. If I could I'd be giving a big fat 11 out of 10...so there! Catch you later I'm off to buy some shells (10/10)

In a sense, Tangerine Dream's 2008 album, "Views from a Red Train", is an updated version of Edgar Froese's solo album "Macula Transfer" of 1976 in that many of the tracks were composed by Froese whilst killing time on the road, either in airport departure lounges, motel rooms, or simply visiting tourist spots. Happily, the result this time is an altogether more mature and developed affair, even than the solo album's 2005 rehash.

The new album benefits hugely from substantial contributions from regular TD collaborating artists in addition to the composer: Bernhard Beibl provides characteristically flashy and flamboyant guitar work on a handful of tracks, complementing Edgar Froese's own intoxicating melodic riffs to perfection; Iris Camaa adds her own brand of electronic percussion in places (most noticeably in 'Hunter Shot by a Yellow Rabbit' and 'Fire on the Mountain'), while Thorsten Quaeschning's power drumming features on a couple of tracks ('Leviathan" and 'One Night in Space') and Linda Spa provides a couple of backing horn and soprano sax additions. The Danube Choir, Vienna, as well as the W.A.M. Cello Quartet of Bratislava, each provide the album with a source of samples which lend a chamber music feel at times.

Highlights for me are the stompingly good 'Leviathan', a stratospheric retake on 'One Night in Space', the bewitchingly beguiling 'Lord of the Ants', the slowly evolving, endlessly fascinating 'Serpent Magique', the hauntingly beautiful 'Sound of a Shell' and... oh heck, it's all good; by far the most solid album from the band in many a long year. Just buy it and hear for yourself!

This was sent to me as a Christmas gift last year. My expectations were not very high as it has been hit and miss with my liking Tangerine Dream's later material. Usually I always find something on an album that I like, but since 2006, I've really found myself liking entire albums again, such as Jean D'arc and Madcap's Flaming Duty.

Views from a Red Train does it for me. It is not as much of a power hitter in my book when compared with the two previously mentioned CDs, but it is a really good album. Somehow the evocative moodiness is back like with incredibly graceful and masterful Passing All Time, and without having to sacrifice 90's optimism as we hear in the Peter Gunn-esque Leviathan. I thought I would grow to hate Leviathan more and more. It's corny, and not at all serious but I actually enjoy it. I enjoy the sequences shimmering over the bounce of the bassline and the attack of guitar. Views from A Red Train strikes a good balance, I think, of what most at this point expect.

Because of lush tracks like Serpent Magic, a thick driving piece that reignites a fleeting sense of the glorious Johannes Shcmoelling years, and Lord of the Ants where Edgar Froese plays solid and languid guitar phrases, it feels like Tangerine Dream really are back. I could not help but want E. Froese to harmonize the guitar phrase in that piece, but whatever. Lord of the Ants rocks.

If one doubts they are back, listen to Hunter Shot By Yellow Rabbit, which sounds to me like the soundtrack to some updated & wild science fiction trailer for say Space 2999 or something. There are clear concise themes throughout the 9 min track. Also, Nutshell logic is a progressive treat with an excellent use of delays on percussion well executed by Iris Camaa and accompanied by trippy electric guitar that climaxes brilliantly. The guitars frame all of the compositions nicely.

The final track is Sound of Shell, where again we are treated to open space, no drums, just pulsing electronics, a dreamy 12 string guitar line that repeats, builds and then dissipates.

I would complain that on guitar, Edgar doesn't shred -- all minor and pentatonic-- like he once did like in Sun Gate, or London, but I don't care (So I won't). I could complain that he meanders all through Carmel Calif on the keyboard, all twee and aimless, but still I press play and the tiny brilliant rhythms and the guitar all work to create a satisfying and shimmering whole. I find my self lost in striking details, anticipating the next track. Even One Night in Space, though dated sounding in the first half, is a great gyrating stomper of a track with live drums (I think) and intensifies nicely.

This is not Tangerine Dream from the 1990's that I struggled to accept. It's a new band, new decade and a fluid and organic return to great form nearly at the end.

An excellent recent release from TD - one of their best in my opinion. All tracks are solid to outstanding - various stand-out tracks are "Leviathan" (driving), "Passing all signs" (contemplative) and for me the best track is the last, the awesome "Sound of a Shell" (subtle, sublime, perfect). You get your money's worth on the album just from this track alone.

I'm not going to waste your time by saying this is or isn't like the Tangerine Dream of old. It is however some excellent music. I especially liked the dynamic guitar riffs. The music is very vibrant and alive. I had been very disappointed with Mars Polaris and didn't expect to ever listen to more TD. I'm glad I changed my mind and now I'm hunting for more.

This was mostly what I expected from TD's more recent work. Mostly I like this album. I've followed their work from the 1970's and am still very fond of the earlier, more non-commercial that they did, particularly albums like Rubicon and the soundtrack to Sorcerer. Since about the mid 1980's it seems they got attached to a more pop type sound, some of which appeals to me, and this album reflects that. I will say that track 3, Leviathan, is really great to listen to while driving. It has that building synthesizer sequence that is reminiscent of "Love on a Real Train" from Risky Business, that then bursts into a hot, rhythmic, pumping, drive with a juicy guitar track.