RARITIES

Artist: Dweller at the Threshold
P: 1998
This is really one long piece divided up into what is described as movements which map to fifteen tracks - all coming in under six minutes. There are noticeably different moods between the "Generation" (parts 1-7), "Transmission" (parts 1-4), and "Illumination" (part 1-4) tracks. The "Generation" tracks are quite desolate overall and the sequences often makes you think of how electricity and alien devices might sound, it's like wandering through a massive strange machine. "Transmission" in contrast is lighter in mood and conveys the energy of something being transmitted striving to reach its destination. Finally, the "Illumination" tracks are rather pensive, especially "Illumination Part 2" which has a reverbing synth that repeatedly stamps onto the soundscape as drones and washes provide the continuity of sound.

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Artist: Dweller at the Threshold
P: 1996
This album could be considered as one long piece of several movements, it's actually split into ten tracks but these merge seamlessly into each other. Like some other retro groups (Free System Projekt come to mind) their music is ambiguous in the sense that it could be considered an exploration of inner (one's mind) or outer space. Most of the tracks create atmosphere with disquieting drones and synth effects, one that stands out is "The Revealing Spiral" where we also hear voice effects combined with a bell sound to make an unusual toll. Sequencing is also used in places, with it highlighting in "Event Horizon" where the sequence builds up to become an urgent repeating refrain before eventually giving way to a bright denouement of reverbing synth.

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Artist: Elektronische Musik aus Köln
P: 1990
Each of the songs were written for, and played exclusivly by, the instrument listed in the title of the song.

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Artist: Elektronische Musik aus Köln
P: 1992
Each of the songs were written for, and played exclusivly by, the instrument listed in the title of the song.

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Artist: Elektronische Musik aus Köln
P: 1994
Each of the songs were written for, and played exclusivly by, the instrument listed in the title of the song.

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Artist: Eberhard Schoener
P: 1991
This is the melting of electronic-music with eastern gamelan music. This should have been part 3 of the Bali-Symphony trilogy after Bali Agung and Trance Formation.

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Artist: Eberhard Schoener
P: 1985
Here we can hear the greatest Hits played with orchestra and synthesizer arranged by Eberhard Schoener.

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Artist: Edgar Froese
P: 1979/ 1997
Originally a double LP AGES. Edgar started recording this album 1978 after a long European Tour with Tangerine Dream. He played all instruments himself and is accompanied by percussionist and drummer Klaus Krieger.
All tracks composed, produced, written and played by Edgar Froese.

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Artist: Edgar Froese
P: 2003
This is volume 1 of a serie of four albums called "Edgar W. Froese - Ambient Highway Vol. 1 - 4" and will be backed by a compilation album that is put together from tracks contained on these albums which is aptly titled "Introduction to the Ambient Highway".
The four albums are intended as a sort of mixture of a retrospective on Froese´s earlier solo work with new and re-recorded pieces. As a few of his earlier solo releases are currently out of print and therefore hard to come by, these albums will fill a gap for those who do not own any of these efforts, yet will still contain enough new material and different versions of previously released tracks to appeal to the diehard collectors.

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Artist: Edgar Froese
P: 1975 / 1987
Next to his work with Tangerine Dream, Edgar (at the moment also with a W.) Froese also has quite a successful solo career.
The music for “Epsilon In Malaysian Pale” was done in 1975 after he had visited Malaysia and Australia. Compared to the music of TD, his solo music had a somewhat simpler approach. Then again, he had only two hands instead of the six of TD in those days, and overdubs weren’t used as much as they are today. I consider “Epsilon…” a masterpiece. Especially for the fans of the Mellotron, there is much to enjoy on this album.
The title track opens with new effects, after which typical Mellotron sounds enter as flute and strings. The digital additions are chosen tasteful and, happily, the atmosphere of the original composition stays intact. As the end nears, a simple, but effective, sequence is used.
I find the second track "Maroubra Bay” to be of great quality. Starting with beach sounds, effects, and menacing Mellotron strings, an atmospheric part follows with dark synth parts as well as modern sounds. The sequence that follows is very strong.

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