Hyperborea
Tangerine Dream

[[HYPERBOREA]] [iš šio albumo [tadream] fanų elektroninės konferencijos]

D:Studio [Hyperborea]

As I was among those who never realized that last week was Hyperborea week, Inever wrote up a review (so much for my idea of writing it in advance). SoI'll do it this week instead. I don't have "Poland" yet anyway...

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1. No Man's Land

A buzzing drone starts this track, with bagpipey sounds in the background.Bouncy percussive notes soon join in, moving from ear to ear, with a rollingsequence. New layers keep appearing: a single repeating synth note,high-pitched little three-tone accents, a great pitch-bending bassline, and acouple of uncharacteristically bright and happy keyboard themes. Once allthese layers become established, the track doesn't change very much untilabout 7:15, when a great shimmering sequence (reminiscent of the fourthmovement from "Logos") fades in and a ringing, metallic bass pattern comesclanging in, repeating three segments of two notes each. Layers start todisappear one by one, and the bass clang has the last word.

I didn't write too much about this one, because it doesn't change that muchonce it sets into its pattern, but I like it a lot. Very upbeat and catchy,and totally unique. And, interestingly, it has no drums that I can detect, atleast not normal ones.

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2. Hyperborea

A choral chord and a slow beat (two kicks followed by two snares; delay,perhaps?) open the title track. The lead melody is deep and deliberate--a bitmajestic in a melancholy way. There's a neat kind of metallic noise firstappearing at 1:58. (Maybe it's the drum machine's idea of a crash cymbal.)The first major change occurs at 3:48, when the beat and the melody stop andgive way to a nice long jet-whoosh kind of sound, followed by a new beat anda more wistful background melody. Over this appears a guitar-like lead, whichplays a kind of optimistically hopeful tune. Some slowly pounding toms fadein afterward (kathunk... kathunk), with a few more background layers ofsynths and drums visiting for a while. They fade out and the beat returns toits simpler form as the piece ends.

It's not bad, but I don't find it too exciting. The thumping toms are neat.

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3. Cinnamon Road

Well, that was quite a transition. "Cinnamon Road" continues the previous twoalbums' tradition of including a short, upbeat track amid the more seriousbusiness. It's really catchy, with many things happening at once over apropulsive bass sequence. There's so much happening that it's difficult tokeep track of all the layers. The track also recognizably features theworld's wimpiest drum machine, the Roland TR-808. Fortunately, the 808 has aminor role here; the bassline is much more prominent than the drums.

It's fun. The anthemic "chorus" is probably my favorite part of it.

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4. Sphinx Lightning

It starts with a few chords on what sounds like a harpsichord. Another slow,determined beat shows up, and for the next few minutes we continue to hear aharpsichord chord (a "harpsi-chord"?) every eight beats, with forebodingsynth sounds in the background, and the occasional deep, clanging bell. I seea large, dark room of some sort.

At about 2:50, the second movement arrives by way of a couple of sequences(one eerie, and one more propulsive--maybe a little "Rubycon"-esque), as thebeat becomes more tense and complex. It doesn't change too much after that;new sounds come and go but the sequence and the beat draw more of myattention. This movement feels kind of like ascending a long stairway (out ofthe large, dark room, I suppose).

The sequence subtly exits, leaving the beat to close the second movement. Amorphing bleeping noise heralds the third, which opens in vaguely psychedelicfashion, as we float among sustained synth chords for a bit. A synth-fluteand an occasional harpsichordish keyboard noodling solidify. This is a ratherpleasantly ambient segment, a nice break after the tension of the previousmovement. I see myself emerging into a pleasant (and still vaguelypsychedelic) garden. The light here is sort of pink, for some unknown reason.

An unidentifiable pitch-bending "ooaah" sound starts repeating at regularintervals as the fourth movement begins. A peaceful sequence starts up, asdoes a beat somewhat like the one in the second movement. Not too much elseto say, really. Like the third, it's pleasant and atmospheric in a cheerfulway. Perhaps this is where I start walking along through and eventually outof the psychedelic garden.

Most of the sounds fade away, again leaving just the beat, as the fifth andfinal movement commences. Its most prominent feature is the big, dramaticchords. I use the word way too much, but it's undeniably Anthemic(tm). As theend approaches, the beat disappears first (that's novel, compared to the restof the track), and the "ooaah" reappears, eventually to be the last thing wehear. I'm not entirely sure what this last movement evokes. Perhaps this isthe part of the journey where I suddenly happen upon a Tangerine Dreamconcert in progress. ;)

For some reason, I previously had the impression that I didn't like thistrack very much. The beats do seem a bit generic for some reason, and thefirst movement doesn't do much, but the rest of the track is great. (That'sone of the reasons I like writing these reviews--it gives me a chance toreevaluate everything.) My favorite movement would have to be the third, butthe last four are all excellent.

Oddly, though, at no point does this track evoke a sphinx and/or lightning.Not to me, anyway.

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I like this album more than I remembered, mainly due to my previousdisinterest in the last track (which takes up half the album). I can't say Ilike it as much as "Exit," "White Eagle" or "Logos," but that's because thosethree albums are so outstanding, not because of some problem with this one.

--Daniel

OK, so here's my small contribution to this discussion...

The reason why I haven't got much to say about this album is that, for somereason, I've never quite warmed to anything except the title track. "NoMan's Land" is certainly interesting from a sequencing point of view, butI've always found that it begins to sound a bit thin after a while. The bassfrequency is more or less unused on this, and the metallic sounds make thetrack sound a bit jumbled to my ears. It has grown on me over time, but Istill don't really understand the value of this piece.

Now, Hyperborea is an entirely different story. This is one of the tracks Inever get tired of, and yet I think it is _so_ under-rated. Everything thatfascinates me about TD's music is present here: the eerie, slightly darkfuzziness of the introductory chords, an almost minimalist melody stunningin its purity and beauty, and elaborated with ever so slight, well-placedalterations throughout the composition, aided by amazing but subtly placedeffects, and a perfect mixture of bass and treble ranges. The transitionfrom the main theme to the outro is just beautiful, and the synth lead thattakes over when one just begins to think that the track is about to endstill brings me close to tears to this day.

Cinnamon Road is something I'm very indifferent about. It is without a doubta well-composed catchy track, but one that doesn't seem to stick in my mindafter listening to it. The situation is very similar with Sphinx Lightning.I like the introduction and the sequence as well as the melodic bits thatare introduced throughout the track, but for some reason this compositionleaves my mind at the same time that it leaves the CD player. For me, it hasnever expressed the same flair that things on Logos or Poland, the precedingand succeeding albums, have.

I would really appreciate if some kind reviewer out there could help me seethe things to look out for with this record. Listening to it, I can tellthat it is a good album, but nothing on it - except the title track - seemsto move me.

Dennis

hI,

haven't posted an album discussion here for ages. I was travelling forquite a while and missed faves like Rubycon and Force Majeure. Hyperboreaurges me to write again.

No Man's Land

In contrast to most of you, I fell in love with this track at the verybeginning. It is freshly different from all the rest of TD. First ofall: it SWINGS. Jazz people here may know what I mean. And I like acomplete set of different sounds which feel eastern to me, withoutthe cheesiness of others who really try to copy asian/tibetian stuff.The e-piano like solo sound is also unique in TD music.To what other people said here: there is a lot of bass in the track,very well and subtle used: the percussion, and that chime like soundwhich also ends the whole track. Luckily the bass is not in the sequencer,for we had this already so often...so, those who miss the bass should check their HiFi system. Or if you reallymiss it, why don't you play along?

Hyperborea

others here said it all. It is very beautiful

Cinnamon Road

another one of the pop song approach. Nice, but I can live without it.

Sphinx Lighting

a major disappointment. Great start though: the lonely PPG (?) 'twangggggg'can't be playedloud enough, and with the gradual build up of the music during the firstfive minutes we expect something to come... but nothing comes, exceptsomewhere in the middle or end a desperate attempt to give the thing somemeat (this is just a phrase, I'm vegetarian...). I hardly manageto really *sit and listen* to this piece completly.I'm urged to stand up, walk around, make some coffee etc...

and a general last remark about whimpsy drums: true, I see why thosedrums can be called whimpsy, but what's wrong with it? They are wellused as what they are and add to the style. Hey, thanks God not everytrack sounds like the Miami Vice theme or whatever 80s drum molesting.

Armin

Hi, folks,

OK, so I'm several weeks late. I never got around to posting anything aboutHyperborea, but nowwith the current lull in, ah, really inspiring discussions, I figure I'd saysomething.

I just got Hyperborea recently, and I've only listened to it once all the waythrough, withselected other parts a few times. I'd heard Cinnamon Road on the Dream Sequencecompilation manytimes (sorry, folks, I love that piece!), so it was nice to hear it in relationto the rest ofthe album. And it's quite a rest of the album!

Hyperborea begins with a very a-typical TD composition. Bright, exotic timbresand strange,floating melodies predominate throughout the whole relatively short track. In away, it soundsalmost like a pre-cursor to the some of the more exotic portions of OpticalRace. (Or even LeParc? I don't know because I don't have that album, only a few tracks like ZenGarden on theBest of the Blue Years compilation.) Interesting track, but unfortunately,somewhat unmemorable,like most of the tracks on Exit (uh, oh, don't answer that!). After "jamming"for severalminutes, it all starts to sound the same....

Which brings us now to the title track, Hyperborea. I really can't tell you HOWMUCH I LOVE THISPIECE! It certainly has one of the most sublime and haunting melodies of theSchmoelling period,and possibly still reigns supreme when you stretch your criteria by several moreyears in eitherdirection. The bizarre tonalities (at least bizarre compared to other TD workfrom that generaltimeframe) and otherworldly synthesizer sounds (some digital, maybe?) combine toform a powerfulecho of the beautiful yet mysterious kingdom of Hyperborea. A definite highlightof the album,and makes it one of the best products of TD's career when Schmoelling was partof the band.

Cinnamon Road: corny? perhaps. Fun? You betcha! I've enjoyed and appreciatedthis piece for along time. It's one of the better "short tracks" from TD at that time. Certainlyblows away anyof the short tracks of Exit (uh, oh, again!), and it's definitely better thanthe silly pop/newwave track Midnight in Tula on White Eagle. Many interesting and "different"sequencesinterweave on this piece to form almost a classical-like counterpoint that makesyou wish thetrack went on longer!

And now the last track, Sphinx Lightning. You know, I have to admit I don'tremember theslightest thing from that track. I'd have to go listen to it, but I'm afraid I'mpressed fortime at the moment. I remember enjoying it, though....

So let's just say the first three tracks, with the middle two being the realhighlights, makethis a classic and enjoyable album that was a fitting swan song for the VirginYears. We loveyou, Hyperborea!

NOW, let the Underwater Sunlight reviews come in! Come on, you can do it! Youknow how! :)

Regards,

Jared

Hello everyone

I've finally bought recently Hyperborea, and I liked it a lot,although it's not a favourite.I was happy to find out that the first chord in Poland, my first TDalbum with Ehite (Ehite?) Ehite Wagle :), comes from this album. Hyphas indeed a cold atmosphere like its cover and also like Poland. Myfavourite tracks were the first two (No Man's Land is first place,with Hyp in a very close second place).

I think Hyperborea isn't a favourite because of the lack of thosegreat TD tunes found in Monolight, Majeure, Ric.part 1 (the guitartheme), the Tangram piano theme, White Eagle (the track), and manyothers.

see ya later