It was actually bands like Tangerine Dream,along with the innovations of funk synthesizer pioneers such as Stevie Wonder and P-Funk’s Bernie Worrell and Walter Junie Morrison,who helped to develop the new wave/synth pop genre that was becoming the dominant form of dance,rock and pop music for the first several years of the 1980’s. Edgar Froese,Chris Franke and Johannes Schmoelling were still operating and going very strong by the time 1981 rolled around. And for their second non soundtrack studio album of the 80’s,the band were in a state of musical adaptation to the very approach they’d played a part in creating.
“Kiew Mission” marches along with a lightly rocking beat with more textural synth lines this time and a pounding,deep orchestral line that sounds similar to the one utilized a year later as the intro to Michael Jackson’s “Beat It”. “Pilots Of Purple Twilight” features a full range of synthesizers providing multiple rhythms,bass lines and melodies to create a full on,flat out electro pop extravaganza. “Choronzon” is a similar type of song only with each synth line marching along in a very strident,forward style. The title song is a very spare and probing number with a basic bass line and melody while “Network 23” has a very busy set of multiple rhythms,bass and melody parts again that sounds very much like something that could be used for the opening of a television news broadcast with it’s sense of tense drama.
“Remote Viewing” concludes the album with a a longer and sparer song where both the melodic and bass synthesizers respond to each other in a very similar musical language that one might hear from a horn section. When I learned of the passing of Edgar Froese today,it took my friend Thomas Carley to help me connect the name with Tangerine Dream. And one thing I realize about the late Froese’s synthesizer work is how much call and response there is to it. Especially on this album. At a period of time when almost every strain of popular music was becoming electronically derived,albums such as this one helped to showcase WHY things worked in electronic music’s instrumentation. And this might be a far more influential Tangerine Dream album than most realize purely on that level.
Originally Posted on January 23rd,2015
Link to original Amazon review here*
One of the true blessings of the internet is the ability for independent musicians,from all different genres,to have the available infrastructure to not only promote and release their music but also be able to maintain it’s intended creative flavor. Bremen Germany born Peter Muller is such a case of a vital funk bass player whose career took off entirely during (and to a great degree because of) the internet. With a father playing acoustic bass and piano,Muller became a sideman during the 90’s who was very much attracted to the playing approach of Stanley Clarke,Mark King and the incomparably multi talented Marcus Miller.
Shortly after joining the UK’s Frank Mead Band,Muller started a solo career. And in doing so became among one of the earliest pioneers who made full use of digital recording software to record his music directly on and to his own PC. Developing his own studio known as Wave Island,Muller recorded his debut in 2003. His second album The Flow became a prominent aspect of the then still growing iTunes Jazzhcharts. After several years of working primarily as a music educator,Muller assembled some of the members of the Frank Mead band,including the man himself for his next album in 2014’s No Mind-which opened with the song “Berlin Street Funk”.
Beginning with an isolated and classic funky drum solo directly from the Clyde Stubblefield school,Muller’s punching slap bass solo comes in playing a bluesy funk solo,followed up by keyboardist Tobias Neumann’s jazzy notations on the Rhodes. Mead then comes in on sax playing the basic melody Muller originally threw down on his electric bass. All surrounding an unusually clear cut sample of the rhythm guitar line from James Brown’s “Sex Machine”,. Following a bridge featuring a sax improvisation from Meade? The music builds up to an intense unison of grooving led by Tim Canfield’s wah-wah guitar eventually building into a reverb laden jazz-rock styled electric guitar solo that is cut off by Mead’s closing sax solo that provides the final fanfare to the song.
Perhaps it was Muller’s years as a music educator that inspired him to present this song the way he did. The fact that each instrument from each of the band members he was working with build up the song from the foundation upward? Each playing directly off the drum and bass part Muller put down? There is just as much of an instructional element to this song as their is entertainment factor. And that factor is very heavy too because each of these players combines the funky basics of James Brown,the slap bass of Marcus Miller and the harmonically enriching electric piano approach of a Herbie Hancock and mixes them together for a potent and live band style funky stew of grooves,rhythms and complex melodies. Surely this qualifies as Peter Muller’s own jam of the year!
Filed under 2014, Frank Meade Band, Funk, Funk Bass, Germany, James Brown, Jazz-Funk, Marcus Miller, Mark King, Peter Muller, Stanley Clarke