Rubycon
Tangerine Dream

D:Studio [RUBYCON] [iš šio albumo [tadream] fanų elektroninės konferencijos]

Well, this one isn't so late. I've been looking forward to reviewing this, myfavorite TD album (and my favorite album in general, by anyone).

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1. Rubycon (part one)

It starts with some wobbling chords, and some low bells. Something sounding alittle like an oboe plays an exploratory little tune, as the intervalsbetween the wobbles and bells shorten. A flutelike sound replaces the "oboe,"and then, just before the two-minute mark, comes an amazing sound. A chorussings a note, and then the most beautiful chord ever floats in on Mellotronstrings, with what sound like simulated whales joining in. Glorious. It'sjoined by a restrained lead melody (I'm not sure what kind of instrument itcomes from) and some electronic bleeping, and this theme lasts a fewminutes. That vocal sound returns with some nice chords of its own.

About six minutes in, it all goes quiet. A low synth drone appears, with someeerie sounds echoing above it. At 7:15, the best sequence ever gets going,deep and powerful. Stirring Mellotron strings accompany the sequence. Ienvision an alien landscape, icy and deep blue, lit only by... I don't know,actually. Something blue. My mental picture isn't detailed enough. (Perhapsthe planet is near the Witch Head Nebula.)

The bit that plays at about 10:30 (and repeats a couple of times later on) isreally powerful. It's hard to describe, though. A buzzing sound grows louderand louder until it releases in a sound that I can't associate with anythingthat exists in reality. The intensity is growing, and the sequence isstarting to warp. More Mellotron strings show up around 11:30. I really lovethose. The overall effect is very dramatic. Something vaguely drum-esqueaugments the rhythm.

Eventually, the sequence suddenly slows. This amazing piece of music isstarting to wind down. There's not too much to say about the ending; it's nottoo abrupt, but it's not the dramatic exit of "Phaedra." But the beginningand middle of the track more than make up for the nondescript ending, and onthe whole, part one is my favorite of the two. Easily my favorite piece ofmusic in the world.

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2. Rubycon (part two)

This one takes some time to get going. The beginning sounds a bit like aslowed-down siren. Some eerie Mellotron voices eventually replace the siren.There isn't a whole lot happening. I think what comes in next might be theinstrument that reminded me of synth-horns in my "Atem" review. Finally, atabout 4:20, the sounds solidify into a tune. The sequencer plays onerepeating note, which becomes two, then four, and suddenly we're right backinto the sequence-and-Mellotron-strings action. I wasn't too fond of the waythe track opened, but this stuff is great. The sequence continues to getmore complex, and it shifts around rapidly, creating a sensation of excitinguncertainty (more like the sequences in "Phaedra" than in part one of thisalbum).

The mental picture is still otherworldly and deep blue. I think I'd like tovisit that world sometime--I'll be sure to bring a Discman and a copy of "Rubycon."

At some point, the sequencer quiets down a bit and steps into the backgroundas the Mellotron takes the (blue) spotlight. Soon after, all traces of melodydisappear, replaced by some whooshing (there's that word again!) effects.They occasionally sound a bit like waves on a beach, but that doesn't fitwith my mental picture, so I'll just imagine that it's wind blowing throughthe icy rocks, or something.

As the other instruments return, another pseudo-flute meanders through. Themusic starts to return to formless ambience, and it becomes clear that thejourney is, sadly, coming to a close. The final note belongs to the flute.

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In the end, the only thing I really don't like about "Rubycon" is its length,a mere 35 minutes. But then, I can always listen to it twice. As I've said,this is my favorite album in the world, and I expect it to stay that way.

--Quarlie :)

This is less of a review, more of a little trip through my head (those of anervous disposition should skip to the next post). Sorry I can't time index it,I don't have it on CD.

Part 1

I'm standing on the shores of a midnight ocean. It's cold, dark, alien. Thereare bright white pinpoints of stars above, reflected in the water below.A surge of sound heralds the sunrise. The sun is huge, but gives no warmth.Birds cry coldly, greeting the dawn.It's becoming warmer. The sea is calm. Small waves ripple onto the shore.There's a gurgling sound from a small stream in the distance.A choir begins to sing. Gradually all other sight and sound fades away, and Ihave become the soaring voices.I take form again, travelling, unaware of my surroundings but knowing that I'mdescending.A sustained organ-like note impels me to motion, and I'm running, tirelesslythrough a sunlit forest. Simultaneously, I'm aware of a smoothly working,well-oiled machine running outside of time and space. Am I dreaming of themachine, or am I the dream of a machine?I continue to run, powerful, catlike, effortless. Surges of light reveal longcathedral-like vistas between the trunks of trees.Now I'm out of the trees, still running, on short upland turf. Theclarinet-like tone suggests a distant view of something indistinct among thetrees below - maybe an overgrown temple, like Angkor Wat? There's a sourcelesstapping.I'm running still, knowing that I'm near my goal, along a high ridge. I leap, aswandive into empty air. I soar, volitionless, neither falling nor flying, inthe cool fresh air beside a mile high waterfall.

Part 2

Soaring again, but now the updraft is hot, ominously so. From below I hear thenight cry of a cat, and then the sound of birds - tormented doves?Now I hear voices - the cries of doomed souls, or an anthem for an alien god?Again, I am subsumed into the voices, and am nothing but sound.Now a remote consciousness, I enter a vast hall, heralded by sonorous tones. Thehall is full of engines, working smoothly. There's an occasional blast of steam.The machines are all black iron and shining copper. Pistons pump, dripping oil.Now I'm tending one of the machines. My movements are smooth, dancing,ritualistic.I'm running again, along the shore line. The footing isn't sand, something firmbut yielding. I splash through a shallow stream as it spreads across the shore.Dusk begins. I'm running more and more lightly, scarcely making contact with theground. Finally I'm aloft, leaving the world behind. Bathed in the interstellartides, I long for the shore I've left behind. I feel cold and alone.I view new stars and constellations, the birth of stars, the movements of thegalactic clouds. Gradually the universe begins to feel warmer, and I know Ibelong there.

(For Heaven's sake, don't show this to a psychiatrist!)

This album is very precious to me. This is partly because of what was happeningin my life when I really got into it. But it's also because the mental picturesit evokes are so powerful, I can get high as a kite on fresh air. If I couldonly listen to one album for the rest of my life, I think this might well be it.

Dream on

Marion

This album is the perfection of what was hinted at in Phaedra.Not nearly as raw but IMHO even more evocative of deep space.Rubycon has THE BEST BASS SOUND EVER RECORDED. That is notmy humble opinion, that is scientifically proven fact. ....They certainly achieved an excellence in their sound here.I think this album balances the earlier artistic tendencies witha superior level of recorded sound. I mean the production ofthis album takes a Quantum leap over the rather harsh soundof the albums we have discussed up to now. For example checkout the wash of sound that appears at about :56 to 1:21. Side A.This to me sounds like piano drenched in reverb with perhaps somevolume swells on the fader. Listen to how every element onthis album comfortably fits with the sounds around it. Nothing jarsthe ears in a fingernail-on-chalkboard sort of way, and yet this is noyanni-melodic-noodling-happy-music, this is visionary and vital,not compromising their position in any way. Imagine the freedomthey must have felt to go into a higher class studio with the backingof a relatively popular album behind them (I.E., label support)Now they could really fulfill their dreams. This music vibrates theexcitement in a very tangible way. I get a contact high every time I listento it! Some highlights for me : The haunting oboe melodyat about 9:04 side A, 11:43 side A - now strangely enough TD hasalways had a very deep space feel to me in their sounds, but this one alwaysreminded me of a typewriter....14:58 side A the Bass changesand fades among washes of prepared piano very psychedelic, andstrange to think of, very acoustic...Side B intro, now this is fun toreview this close to Halloween very ghostly, complete with mocktheremin sounds. Nice how they did the panning, or moving thesounds around the stereo field. This gives way to a really rockingstonking bassline. I love how they revisited the Mellotron througha phaser effect that is a prominent part of Phaedra.6:35 side B this is prime Chris Franke Bass sequence manipulation.He really shines here, remember, he was a drummer originally,so he really is responsible for the flesh and blood, or the earthof TD, this bass sound is pure rock and roll energy. Fantastic.I really don't think Chris gets the respect he deserves for makingTD what it was. (Standing ovation from me.)In a perfect world this would have been a double album.

One of the best Albums ever made. That simple.Poly

Here I go.....

This was my second TD purchase back in 1976 (Stratosfear being my first andpossibly favourite). It stands out for me as a landmark piece and has truedepth and vision. It is still able to fill me with awe (the breadth of thesoundscape is enormous), drive me with excitement and anticipation (thosedriving, pulsing, chugging , forever changing sequencer patterns), and lullme into sadness (those lonely plaintiff oboes and treated pianos). This wasan epic. TD really shined in this "one track per side" format. IMO this ishow TD should be - and I think they should give serious consideration tolonger pieces again. Talking about the album now, I cant help but thinkabout it in its time context ie 1976 for me. It is a piece of personalhistory and a piece of synthsizer/electronic rock history. The fact that itstill excites me after 23 years is a testament to the prowess ofFroese/Franke/Baumann - imo "THE" TD lineup.

I could write reams - but you get the idea, right?

Larry

Hey Gang!

Rubycon.

1. Rubycon- 17:172. RubyconPart 2- 17:34

TBH, I have only added this CD to my collection recently (withina couple of months :).

Though I have heard it a bunch of times, do not think I reallylistened to it until just now.

I am sorry, Rubycon part 1 does not do much for me. I had toturn up the volume all the way for the 1st 2 min. Then thatsiren sound, the only part that makes an impression on me. Therest just sort of flows until around 10:35 when it becomes (AngryTD :) & then about 13:00 or so it becomes reminiscent ofPhaedra, but still angry till the end.

Rubycon Part 2 on the other hand Is SPOOKY. I thought, what aperfect song for Halloween. I mean, it is ghostly! It remindsme of the "Monolith" music from 2001 for the first 5 min. I wasvery frightened. Then it also flows till about 9:20 or so whenthe fear begins again. The ending though (last minute or so) is akinda pleasant oriental feel.

I am used to long songs mind you (Gates of Delirium is one of myfavorite songs, I mean is there a longer studio rock song than21:55?).

I just think this CD is not the best is all. On the Armin scale:2.

TBH, I am only slightly more fond of the versions on TangerineAmbience 2 as well as the version of Phaedra.

Alas, I do not have Ricochet.

siberkat

This period of TD music is very unique, very impressionist, and veryethereal. I like the way those drawn-out chords replace conventional melodyand create instead a "soundscape" (tacky term, but I cannot think ofanything better right now) that fills all frequencies, from the low, boomingbass lines to the high-pitched interjections - and travelling quite freelyin between! I especially like the pounding sequencer line that enters thesecond set after the eerie siren bit has ended. It marks a good contrast tothe preceding sequence and sets the stage for the rest of the piece.

I also feel that this album has a very "aquatic" feel to it. Perhaps evenmore than "Underwater Sunlight", it seems like the perfect deep seasoundtrack, managing to be calm without being boring and sombre withoutbeing depressing.

Dennis

You mean the quality of recording or the quality of the sounds/ambience?I agree with the latter...but I think the recording is one of their'worst' (probably not the right word).But then again, maybe it's the 'bad' recording quality that we like so much.(okay of course its also the music!)Maybe we shouldn't be so obsessed these days by how the recordingwill sound like (quality-wise) but how the music will sound like.Hmm do I make any sense here? :-)

Very short review from me:When I first heard it, and it was my first TD record, I didn't liked itat all. All these strange sounds and little melody...but I worked myway back from lets say Tiger and then loved it!It makes images of strange places, other worlds. But also of nightmaresimo. This isn't your 100th average new age record, no this is full of power(maybe dark power?).In the first track I just love when there's just one continues note playedand the sequencer comes in and the mellotron is played on top...now thisis electronic music at its best. Just simple, but at the same time not? :-)I could go on, but its just a great record...just as every record they madetill lets say 83. They are all winners in my book.

Marcel

Steven,

Here is the recipe:

You gave "Rubycon" a couple of listen. That was phase 1.Now put the record aside. Do not think about it; just goabout your life. Forget about it.

In a few weeks, perhaps months, you'll have this after effect,a strange sensation of soundscapes, and you'll feel empty fornot being able to identify them. You'll wake up at night,just out of a dream, thinking that you just were about torecapture the essence. You'll go nuts. That's phase 2.Don't fight the madness, but resit until phase 3 before gettingthe record in the sound system.

Then (that's phase 3) put the CD on, and do not really listento it, use it like background music for something else you'redoing -- but something that is quiet, like reading. Notice howyou mind keeps wandering from what you're doing? That'sRubycon getting under your skin, boring right through your brain,establishing itself. Now you're hooked. Hear those sequencersbeating, giving texture to a strange melody, one that remains thesame but keeps changing ever so slightly every second. Feel how youmiss the last second but can't wait for the next, walking througha path that is so familiar yet ever different.

Then (phase 4), write back to us telling us you've seen the light,concluding that you could not live without Rubycon, that is desservesto be OUT of the Armin scale; that it simply IS.

Next, repeat this whole process with Ricochet.

That's the experiecne I went through. I cannot claim that itwent like that for everybody. It's been over 20 years already,Rubycon and Ricochet are not albums I am likely to get overanytime soon.

Another album that I haven't heard in a long time. I'm actually quitelooking forward to this after the surprise that I actually quite likedPhaedra.

Rubycon (1975)1. Rubycon Part One(Edgar Froese - mellotron, guitar, vcs3 synthi: Chris Franke - doublemoog synthesizer, synthi A, organ, modified elka organ, preparedpiano: Peter Baumann - organ, synthi A, e-piano, prepared piano)

2. Rubycon Part Two(Chris Franke - double moog synthesizer, gong, synthi A, organ: EdgarFroese - organ, mellotron, guitar, gong, vcs3 synthi: Peter Baumann -e-piano, organ, synthi A, voice, arp 2600)

This is first time I've been a bit late posting my own thoughts on analbum, and as such have had the benefit of reading everyone else'scomments. They surprised me really, as most of you heralded this albumas the TD holy grail. I don't think it's all that good. (Asbestos suiton! :-p )

Sure, there are some really excellent segments on this album (such asthe segment from 7:10 to 15:10 on track 1 which absolutely rocks -admittedly almost half of the track! - and the segment from 9:00 to11:40 on track 2 - can anyone tell my favourite bits are thesequences? :-) )

Many people say that the first Redshift album is a complete rip ofthis album, but in truth I prefer Redshift to this. It is not IMO asso many of you describe, TD's finest hour (or perhaps that should beTD's finest slightly more than half an hour), but I will admit that itdoes have some of their finest moments encapsulated within.

As to the cover, don't you just love those droplet photo's? And thecolour is gorgeous. Probably one of my favourite TD covers (though alot is lost on the transition from gatefold album to SBM CDcover....). Simple yet very effective.

Regards,Lawry

Well, I'll keep this brief, especially since I listened to Rubycon last week,and didn't write down my impressions at the time.

This has always been one of my favorites, but I've come to realize over thelast couple of years that Rubycon Part 1 carries my 5AS rating. I think Part1 is just about as perfect as emusic gets - with the possible exception ofnext week when we discuss Ricochet.

Part 2, on the other hand, has that bleep-bloop quality to the sequencerpattern that seems a little cheesy, and it goes on WAY to long - I'm talkingabout the part that goes on for several minutes just after the cool spookypart. What really drew my attention to this were the HORRIBLE (IMO) versionsof Rubycon on Tangerine Ambience 2 (uh, he's not on this list, is he? hopenot). I mean, that up and down sequencer just goes on and on and on, way tooforward in the mix, to the point I said, "no way, this isn't Rubycon." And Iwent and played Part 2 and said, "hmm, I guess maybe it is."

Ok, it's not THAT bad, I still think most of Part 2 is very good. But thatpart in the middle drags a bit. I probably should lower it to 4AS - but part1 is SO good, that I'm sticking to my 5AS.

Again, I probably sounded harsher on Part 2 than I intend, it's just that onepart, and all IMO, of course.

Phil D.

Rubycon and I have had so many experiences together, we have been togetherfor almost 20 years. From the float tanks in college to the quiet earlymornings with a cup of tea birthdays (special). I actually put Rubycon onlast as I sorted my stuff (give it away or keep it). The moments Lawry notedare my favorite also, I love Chris's sequences, they bubble and vibrate myessence in a way where I feel as if I'm melting into the space between theatoms. I'm curious what a brain scan would say because of the energetic buzzI seem to have. As Part 2's last notes sounded for some reason they seemedto foreshadow Richocet, which I immediately put on next. Rubycon (and earlyTD) will always be a classic in my mind, they opened a world I love tovisit. I am also thankful for those who have chose to follow: RedshiftEther, Attila Can AVE, Airsculpture Thunderhead, Mind~Flux Konceptions ofSpace, Dwellers at the Threshold Illuminations ..., and the other I'vemissed have brought a freshness, a new perspective to my visits.

I just bought Rubycon and I am now on phase 1 of thefollowing "recipe"(Actually I had a similar experience with "White Eagle"which is now one of my favorites.)--Bennett

np: Rubycon

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Here is the recipe:

You gave "Rubycon" a couple of listen. That was phase 1.Now put the record aside. Do not think about it; just goabout your life. Forget about it.

In a few weeks, perhaps months, you'll have this aftereffect,a strange sensation of soundscapes, and you'll feel emptyfornot being able to identify them. You'll wake up at night,just out of a dream, thinking that you just were about torecapture the essence. You'll go nuts. That's phase 2.Don't fight the madness, but resit until phase 3 beforegettingthe record in the sound system.

Then (that's phase 3) put the CD on, and do not reallylistento it, use it like background music for something elseyou'redoing -- but something that is quiet, like reading. Noticehowyou mind keeps wandering from what you're doing? That'sRubycon getting under your skin, boring right through yourbrain,establishing itself. Now you're hooked. Hear thosesequencersbeating, giving texture to a strange melody, one thatremains thesame but keeps changing ever so slightly every second. Feelhow youmiss the last second but can't wait for the next, walkingthrougha path that is so familiar yet ever different.

Then (phase 4), write back to us telling us you've seen thelight,concluding that you could not live without Rubycon, that isdesservesto be OUT of the Armin scale; that it simply IS.

C.B.V. Goudreault