Kklak Is Listening To...

Vinyl record on turntable, cover displayed. Artist: µ-Ziq Album: Lunatic Harness 25th Anniversary Edition

If your name is Jason, the time to brace yourself is now.

Lunatic Harness 25th Anniversary Edition (2022)

Lunatic Harness (1997)
- µ-Ziq

@planetmurecords.bsky.social

#nowspinning #musicsky #vinyl #nowplaying

dialogue is an interesting addition. The album is bookended by originals from Jerome, World of the Day (following a short intro piece) and The Metropolitan Sphere, although neither are particularly exciting. (7/7)

fail to gel successfully, rewarding novelty rather than repeat listens. Nothing here quite matches DM3's subversive fun of turning White Eagle into a Balearic house chugger or Diamond Diary into a quasi-drum 'n' bass assault. The segues are of course always appreciated, and the use of movie (6/7)

Messenger (an instrumental cover of Rising Runner Missed by Endless Sender) and Rebound 03 (incorporating Ricochet Parts 1 and 2) seem to actively work against the original material, while elsewhere, breakbeats on Cosmic Merriment (a Zeit medley) and Floating Higher (Love on a Real Train) (5/7)

As for the music - I've been enjoying the Dream Mixes series so far, but DM 4 suggests the band (i.e. Jerome) might've stretched the concept to breaking point with this album. With regards to the updated classics, the track selection feels less inspired than DM3 two years back - remixes like (4/7)

mythic quality onto TD's first two decades of albums, and it's lovely to see her work again even if only briefly. The difference between those covers and the typically crowded, gaudy look of the Seattle and TDI Years - not to mention the Eastgate ones coming up - is frankly night and day. (3/7)

But before we dive in, let's not forget to mention the cover art: in a rare change of pace from the last few years, it's the work of the late Monique Froese. We pointed out her contributions early on in this review series (Alpha Centauri from memory?) but her art and photography imbue such a (2/7)

#TangerineDreamTuesday Week 50: DM 4.

The fourth volume of the Dream Mixes takes us further than ever before, reaching back as far as the band's Pink Years to provide new interpretations of classic material.

#tangerinedream #ambient #breakbeat #musicsky #nowplaying (1/7)

A whistle squeals away like an incensed kettle, and suddenly it's finished. A relatively short ending to a sweeping collection of live sets from TD at the height of their powers. (18/18)

sequence goes deeper - and packs an increasingly heavy punch with the bass - Froese's guitar returns to wail on top. There's passages here that also seem to prefigure the dark intensity of Sorcerer, but also melodies that riff on Romance 76's Bicentennial Present. (17/18)

And finally, Set Five is the shortest set here, and one we've already covered in tangentised form on Soundmill Navigator: their 1976 performance at the Berlin Philharmonics. Choral pads and organ make way for a percussive, glassy synth sequence echoing the sound of next year's Encore. As the (16/18)

juddering metallic shrieks and applause, and then electric piano - almost certainly an addition from Baumann, sounding straight out of Romance 76. A shorter third part returns to guitar heroics before concluding on wistful flute. (15/18)

the end of the disc, as the guitar switches to almost-jazzy chords. The second disc provides tinkling piano and synth horns, before returning once more to the hypnotic pulse of the sequencer, this time vaguely reminiscent of Sorcerer. It runs through various patterns, at times punctuated by (14/18)

with cheers from the audience, this time accompanied by - a guitar! Edgar has brought his axe on this tour. Most of my guitar-related frustrations with the band over their 90s period evaporate in the moment - here, in 1976, its addition is decidedly refreshing. This combination continues to (13/18)

Set Four from Bilbao 1976 starts with a beautiful melody from the now-familiar Mellotron flute and airy synths, eventually overtaken by ominous choirs and mutterings from Ricochet, the former seemingly being played rather than the sustained chords of usual. The sequencers soon fire up again (12/18)

heartbeat that multiplies and echoes as the synths leak in, and from here it's more familiar territory (albeit with unexpected twists and turns). The final ten minutes provide some gorgeous new sequences before shuddering noises bring us to the end. (11/18)

bass sequence transform the track into a sonic maelstrom of noises like howling ghosts, far away from the doom-laden riffs of the studio track. Part 2 bears more similarities with a piano improv that coalesces into the familiar Ricochet (Part 2) motif; this turns into a steady thump of a (10/18)

straight into action with a rhythmic 13-minute encore.

Croydon 1975 will be well known to TD fans... or at least, the opening chords will be. The synth line that starts Set 3 is recognisably that of Ricochet (Part 1), but the guitar never arrives! Instead, Mellotron strings and a descending (9/18)

Speaking of which, one of said boffins is Michael Hoenig, filling in for Peter Baumann here and on TD's Australia tour earlier in the year; this box set marks his first appearance on any official TD release, just under three decades after it was recorded. Following applause, the band launch (8/18)

The second part of the performance delivers a similar experience over a slow burn, starting with warped strings and ending on an intense synth jam alongside a high-pitched melody at the three-quarter mark that becomes as punch-the-air anthemic as you can get from three boffins with a modular. (7/18)

listener is surrounded by foreboding choirs and a sequencer rhythm, building in intensity in a progression that owes a debt to Rubycon. This section eventually settles back to a serene drone before another sequencer section erupts, this one with piano arpeggios that hint at Ricochet. (6/18)

bassline, and later an ongoing drone with soft chimes. The Mellotron later comes in to provide snatches of melody.

By contrast, Set Two from the Royal Albert Hall is decidedly from the Virgin lineage. Opening with ambient soundscapes, strings and a hint of flute, by twenty minutes the (5/18)

Set One from Sheffield 1974 seems to belong more to the Pink Years than Virgin, content to shift through sound environments rather than strict melodies or a rhythmic backbone. It begins with warbling like birds in a manner similar to Aqua, progressing into sustained chords with a shimmering (4/18)

their most raw and uncompromising, improvisational form. Frustratingly, all five have been cribbed from audience recordings on the fan-made Tangerine Trees project, which was presumably easier than the band looking in their archives for soundboards. Perhaps they were in need of a quick buck. (3/18)

The Bootleg Box Set must've come as a surprise to fans, to hear classic live recordings unaltered after years of the band dragging their heels with tangentisations. This set collects five such recordings between 1974 and 1976 over a luxurious seven discs, and they represent Tangerine Dream in (2/18)

#TangerineDreamTuesday Week 49: THE BOOTLEG BOX SET VOL. 1.

Arriving on the late side this week. Apologies in advance - this post is going to be a long one!

#tangerinedream #ambient #krautrock #musicsky #nowplaying (1/18)

I prefer it to most of their 90s output... but not enough to listen again. Looking forward to Q turning up in a few albums time.

Wilmot! I do prefer the single version over the album mix. But both excellent.

during the album that I was hearing the same track again! With that in mind, Mota Atma simply doesn't do enough to distinguish itself over the hour-plus runtime. With its aping of TD's late 70s, it makes for pleasant background music, but fails to capture what made the originals so brilliant. (4/4)

later editions have rectified this to just Edgar, and it certainly sounds it. Mota Atma feels like a deliberate step into TD's past, with long, repetitive tracks underlaid by beeping sequencers. Sometimes too repetitive - with shared sounds and song structures, I got the sense multiple times (3/4)