RUBYCON

Tangerine Dream is one of the most influential progressive electronic groups of all time, and probably is the best of all. Despite their clear psychedelic influences, they were never really a true psychedelic outfit. They became more a natural partner of their countrymen band Kraftwerk, in spite of the natural musical differences of both bands. We can even say that Tangerine Dream was the founder of the Progressive Electronic sub-genre and Kraftwerk was the founder of the Tecno Music. In reality, the music of Tangerine Dream has made an enormous impact on ambient, new age, techno, trance, prog rock, as well as modern film score composition. They're responsible for the release of almost a hundred of studio albums and more than fifty live albums in a true amazing and unique career spread for more than fifty years.

The so called 'The Virgin Years' of Tangerine Dream began with 'Phaedra' and 'Rubycon'. Tangerine Dream's debut for Virgin, 'Phaedra', is rightfully regarded as one of their definitive classics. 'Phaedra' showed that their musical expression had evolved and progressed without losing any of the depth and mysticism of their first best works. The most noticeable new feature in their sound was the inclusion of complex, sequenced electronic rhythm patterns that slowly evolved and changed shape underneath the atmospheric sounds of Moogs, Mellotrons, flute and lots of electronic equipments. That made of 'Phaedra' one of the best and most influential albums of this sub-genre of prog.

So, after 'Phaedra', how could Tangerine Dream follow up an album that not only had been an unexpected international breakthrough, but also one of their definitive artistic achievements? Somehow, it was an easy thing. They just further perfected the previous formula of that very album, and came up with not just their most perfect work but perhaps also the best album of this entire sub-genre. 'Rubycon' is like 'Phaedra', an album that marks the transition from the 'cosmic music' of the early Tangerine Dream years to the sequencer-emphasized music of the middle and late 70's. On 'Rubycon' both components are masterfully combined, from the long, rhythm and melody-free introduction, in which free noises are gradually displaced by powerful inserts of the Mellotron, through a sequencer-dominated part, to the free final part, which is a very distinctive thing. 'Rubycon' is one of the few albums where you honestly can say that not an entire second is mediocre or wasted. It's a peak as high as the band possibly ever could reach. It was also their first album consisting of just one forty minute long track that only was broken up by the two sides of the vinyl record. 'Rubycon' offers two long sound paintings, which consist of free constructions of various electronic sound sources and repetitive sequencing loops rhythmically shaped sections, which in turn are underlaid with the wobble, hiss, wave and boom of the same electronic sound sources. All these things perfectly combined are the secret of their sixth work.

'Rubycon' is an album that commenced precisely where 'Phaedra' ended. It starts with a lot of atmospheric and mellow soundscapes performed on the Mellotron and the synthesizers. After a while the sequencers start which provide for pleasant rhythms. The frequent organ and piano parts move strongly towards the sound Pink Floyd produced on 'Meddle'. It has some sounds where the mood alternates between dark and light, before it beautifully and graciously rises up toward a grandiose and haunting part with some fantastic atmospheres that in a dream take us to the ocean. It quiets down after a while, and starts to build up some tension to prepare us for the sequenced part. Together with eerie Mellotrons, distorted piano-chords and droning organs, the electronic sequenced rhythms carry you away in the same dreamlike state as 'Phaedra' did. The second part of 'Rubycon' starts rather mysteriously and mellow, but gets into higher gear by the use of sequencers. It begins quite dark and sinister, with an almost metallic, gloomy tone dragging up and down that evolves into a spooky Mellotron-choir in the same tone. The part with the sequenced rhythms is a bit more dramatic and energetic here than on the first side, and features some effective backwards guitar from Froese. The sequencer part ends in something that sounds like electronic swells toward the shore. The finale is a bit brighter, consisting of Mellotron-flute around dreamy and mysterious synths that conjure up images of light. The music is magic.

Conclusion: 'Rubycon' is like 'Phaedra', an impressive work from the experimental early phase and the sequencer heavy time in the middle of the 70's, but oriented a little further towards the later. The Moog Synth is used more often than on its predecessor, which makes the soundscapes appear more structured overall. Of course, the impression of uniformity also comes from the fact that there are only two pieces of the same name. The free form parts, which are still available, appear more mature and sophisticated than their predecessors. 'Rubycon' is a standard work of the Berlin School. If you are interested in electronic music you should check it, and its predecessor 'Phaedra'. People who want to find whether they like such 'futuristic music' must check it too. This is one of the best, Tangerine Dream's albums.

Prog is my Ferrari. Jem Godfrey (Frost*)

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