TRANS HARMONIC NIGHTS

Peter Baumann came to prominence as a key member of the German progressive electronic band Tangerine Dream, joining to Edgar Froese and Christopher Franke in the group in 1971 and making his debut presence on the third studio album of Tangerine Dream, "Zeit", released in the same year. His contribution was felt on the classic Tangerine Dream's albums released by Virgin Records issued between 1972 and 1977, "Atem" from 1973, "Phaedra" from 1974, "Rubycon" from 1975, "Ricochet" also from 1975, "Stratosfear" from 1976, "Sorcerer" from 1977 and "Encore" from 1977 too.

One of the notable contributions that Baumann made to Tangerine Dream was managing the commission and construction of their very large Projekt Elektronik modular synthesizer, and devising ways to use the synth in their compositions. Baumann had also his Moog modulars extensively modified, in part to make them more playable on stage without the use of as many patch cords. This was done in part through voltage busses routed through the case that could be sent to an input via an array of switches. So, Baumann made great contributions to the sound of the band.

In 1976 he embarked on a solo career with his classic work "Romance 76", an album that is now held in huge esteem by aficionados of German Electronic Music. His next work as a solo artist was the equally remarkable and ground breaking album "Trans Harmonic Nights", from 1979. This release pre-empted and influenced the protagonists of the synthesiser based music that would burst forth in the 80's. In the 80's he released two more albums, "Repeat Repeat" of 1981 and "Strangers In The Night" of 1983. He would return in this century with another album "Machines Of Desire" of 2016.

"Trans Harmonic Nights" is more pop orientated than "Romance 76", but remains an utterly charming slice of early ambient pop, with a sprinkling of acoustic instruments including live drums thrown into the mix. It's a good deal more minimalist in its arrangements and use of loops than Tangerine Dream's music of the same period, making it quite distinct from the classic Berlin School sound. So, the music on "Trans Harmonic Nights" is a further shift away from the heavy music of Tangerine Dream as Baumann continues to approach the melodic, minimalist music of Cluster, Kraftwerk, Jean-Michel Jarre, etc. In fact, you could see Baumann's brief solo career as a gradual moving away from Tangerine Dream's remoteness toward warm, romantic electronic music. That's not to suggest anything on Baumann's second album is in league with the new Romantic Movement. Rather, it's a refinement of the ideas espoused on the first side of "Romance 76", which is simple electronic sounds are built up in layers and infused with humanity and jollity.

The album opens with the razor edged electronics of "This Day". It introduces some of the elements that will appear throughout the album, like heavily treated vocals, simple layers and an almost lullaby like foundation. Particularly in the use of vocals, you get the sense that Baumann is trying to make a more human connection with his audience. "White Bench And Black Beach" is similar in design, slow and soothing in its own in a strangely luminous way. It has heavy bass and drums. "Chasing The Dream" contains a typical Tangerine Dream sequence. It recalls the sound of Tangerine Dream, showing that Baumann is more than capable of creating Tangerine Dream soundalikes. This is a track that fully shows its complexities. "Biking Up The Strand" has a happy, upbeat melody. It feels like an electronic waltz, and shows that Baumann's work is still at least partially grounded in classical structures, even as he streamlines the arrangements down to simple tracks. "Phaseday" is a bright and hopeful track, a kind of antidote to Tangerine Dream's murky vision of alien soundscapes with its pulsating sequence, Mellotron, and vocoder. "Meridian Moorland" is probably the album's darkest entry and feels uncannily familiar. It takes us into the dark forest with its eerie melody and its dark psychedelic, deeply unsettling sound. "The Third Site" is a continuation of "Meridian Moorland". It features a manic pattern similar to Cluster's more agitated songs. The album closes with "Dance At Dawn". It's his most classically inspired piece on the album, which prominently features horns and drums. It has a rapid percussive rhythm and synth trumpets sequenced.

Conclusion: The critical reaction to "Trans Harmonic Nights" is more or less divided. I agree that it's less impressive and substantive than "Force Majeuere" or "Tangram" or even "Romance 76" of him. But, those were all great albums, and "Trans Harmonic Nights" is, at least, a good album. Personally, I think there's an electronic efficacy to melody and simplicity. Despite "Trans Harmonic Nights" has more pop tendencies than "Romance 76", it seems to me recognizable that Baumann had a significant influence on "Stratosfear". Many sounds and patterns of that era can be heard on this album in a modified and lively form. So, while not as essential as "Romance 76", "Trans Harmonic Nights" has its key moments. This is an album that shows Baumann transforming and trying, for lack of a better word, to "synthesize" the vibe of the times. So, this is an interesting release for fans of vintage electronic music and Tangerine Dream's devotees.

Prog is my Ferrari. Jem Godfrey (Frost*)

Share this PETER BAUMANN review

Social review comments () BETA

---

---

Review related links

• Send comments to VianaProghead
• Report this review (#3070093)
• Buy PETER BAUMANN music online with PA partners
• Show all PETER BAUMANN MP3/Stream
• Go to PETER BAUMANN page for videos, full discography with ratings, reviews and much more
• Go to Trans Harmonic Nights page for more details, where to buy and ratings/reviews
• Search the Forum for PETER BAUMANN related discussions