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FIRST SINGLE FROM THE "MALLARME" ALBUM WITH PAUL HASLINGER

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TANGERINE DREAM CONCERT, PARIS, OLYMPIA, 31 March 1986

 

 I just came across this text in my archives, written forty years ago, following Tangerine Dream’s two concerts at the Olympia in Paris in 1986.

Those concerts were organized by Serge Leroy, with the help of the Crystal Lake association.

Who could have predicted this long friendship with Paul Haslinger, which led to his participation on several Lightwave albums and, over the past year, to this collaborative effort that resulted in the creation of the noion music label and the first two albums produced together, “Mallarmé” and “Borges,” set to be released on July 10 on Bandcamp and all platforms?

Life sometimes holds surprising surprises….

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Who could have guessed that the leading band of European electronic music—those experimentalists who propelled trippy music to the top of the charts in the 1970s—would make such a sensational comeback?

 
Hey, guys, set your preconceptions aside for a moment... Open your ears and your eyes, let go of those overhyped labels... To you, is TANGERINE DREAM just ancient history? A bygone era? Are they musicians who have nothing left to say? Is it the outdated sound of modular synths and old-man music? Don’t get stuck on those preconceptions... Don’t trust musical “trends”… Just because the media ignores a band or an artist doesn’t mean their music is bad or outdated.  

So, as we were saying…  The March 31 concert at the Olympia… A truly special event… None of the major Parisian concert promoters had taken the risk of putting on this show… . “Tangerine Dream is over…,” they said… “There’s too much risk with a band that hasn’t been to France in five years…” So, it was a small association promoting electronic music, CRYSTAL LAKE, that decided to take on the challenge. They learned the ropes on the job and did everything: raising funds, handling press relations, advertising, and setting up all the technical infrastructure to accommodate the three musicians and a technical crew of about fifteen people... CRYSTAL LAKE truly moved mountains and proved that an alternative was possible in the world of show business... And so the big day arrived...

When the first notes rang out in the pitch-black Olympia, with the curtain drawn across the stage, we immediately noticed a change in sound. TANGERINE DREAM hadn’t played in France for five years. True, many albums have been released during this time. But the live sound has a warmth, an irreplaceable power. There are flute sounds, polyphonies that layer upon one another and create an atmosphere of anticipation. Anticipation, because it’s only after a minute that the curtains open… revealing the stage. It’s THE shock. I’m a regular at Dream concerts, yet every time, I can’t help it—it grabs me by the throat, my heart races, and I’m overcome.

Three massive cabinets, racks housing sequencers, mixing consoles, sound processing effects, synth expanders, and computer screens. In front, stacked keyboards. Between the racks and the keyboards, Edgar FROESE (on the left), Chris FRANKE (in the center), and Paul HASLINGER (on the right). This 23-year-old musician is the surprise of this tour: he brings a fresh look, energy, and technique that perfectly complement the expertise of FRANKE and FROESE.

 

So, as I was saying, the curtains open and I’m blown away. I’m blown away by the mountain of equipment, which flashes, pulses, oscillates, and beckons. I’m also blown away by the light show. Tangerine Dream has finally decided to create a visual environment that matches the caliber of its music. These are computer-controlled lights that create a hellish ballet of beams and colors materializing above the musicians. There are also projections standing out against the backdrop of the stage: clouds drifting across an abstract sky, flames twisting and setting the stage ablaze for the duration of a song, computer-generated geometric patterns... And then, the interplay of mirrors and reflective balls that make an entire audience
feel seasick, embarking on a cosmic journey through stars and galaxies. 

 

The music hits hard. The volume is cranked up to the max, and TANGERINE DREAM is certainly one of the loudest bands out there. You physically feel the bass, and you cling to your seat during certain infrasonic explosions. The rhythms are hellish. A drummer plays like a one-armed man alongside the electronic percussion programmed by our friends. It’s all breaks, rhythmic skids, tempo accelerations, and a barrage of beats—thanks to the use of very short delays—that give the impression the drumstick is bouncing and jittering on the drums. The music swings, pounds, and rocks. TANGERINE DREAM is at the top of its game. Chris FRANKE programs all the rhythms on computers, plays the Emulator, and changes floppy disks from time to time. Paul HASLINGER handles the polyphonies like a true pro: punchy chords and manual rhythms that underscore and accentuate the programmed beats. Edgar FROESE remains the melodist, who, with an ethereal phrasing, crowns it all. No, actually, I don’t know. It’s hard to tell who’s doing what, so tightly knit and absorbed are the three musicians. 

All their machines are interconnected and interact simultaneously. At one point, Paul and Edgar leave their keyboards and pick up their guitars. The volume cranks up another notch, and the rhythm section goes completely wild. By comparison, hard rock is music for seniors... The guitars scream and the musicians are having a blast. So is the crowd. It’s awesome... Chris FRANKE, absorbed in his rhythmic and percussive antics, calls his bandmates back to order: a chord on the Emulator and—boom—everyone returns to their respective keyboards for the rest of the set. By turns trippy, cosmic, melodic, and percussive, a hyper-professional show, where Dream, in a hyper-technological environment, with synths some of which are still prototypes, offers us unique music. We can’t think of anyone who can compare to them right now...

Well, yes, you missed something fabulous... The event of the month in March wasn’t the elections, but the DREAM concert. So, the next time TANGERINE DREAM comes to Paris, don’t say, when you see the posters: “That’s music from the past…”
“That’s the music of the future”
Because the future is today.

UN COUP DE DÉS JAMAIS N'ABOLIRA LE HASARD

 

 

Bandcamp: https://noionmusic.bandcamp.com Web site: https://noionmusic.com/ #contemporaryclassical #chambermusic #minimalism #abstractmusic #hybridmusic #noionmusic #mallarmé

 

 

"JAMAIS N'ABOLIRA" / FIRST SINGLE ON NOION MUSIC

Dear friends,

I am delighted to announce the launch of the noion music label, which I founded with Paul Haslinger:

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Two collaborative albums—Mallarmé and Borges—will be released on July 10 on Bandcamp and all streaming platforms.

We just released “Jamais n’abolira,” the first single from Mallarmé.

“Un coup de dés jamais n’abolira le hasard.”
“A throw of the dice will never abolish chance.”
— Stéphane Mallarmé

Inspired by Mallarmé’s radical 1897 poem, the piece explores space, repetition, silence, and the shifting relationship between structure and chance. Slowly unfolding across immersive ambient textures and minimalist patterns, the music mirrors the poem’s fragmented architecture — where meaning drifts, reappears, and transforms through time.

“An immersive, unhurried space… where sounds and motifs reverberate in recurring patterns.” — Christian Wittman

Out now.
https://noionmusic.bandcamp.com/album/mallarme

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I'M GOING ON AN ADVENTURE....!

 noion Music is a label exploring atmospheric minimalism.

Founded by Paul Haslinger and Christian Wittman, each release focuses on clarity, silence, and space, inviting deep, mindful listening.

 Coming soon! 

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SUBVERT.FM

 

It goes without saying that the music distribution ecosystem is currently undergoing profound changes.  There are, of course, the challenges posed by generative AI, which is flooding all platforms with endless streams of music, leading to a narrowing of the creative spectrum in favor of fleeting trends. There is also the policy of dominant streaming platforms, such as Spotify, with ridiculously low royalty rates for streams and the invisibility of all independent musicians who fall below their break-even points.

In this shifting, and often discouraging, landscape, we must applaud initiatives that aim to give musicians back some control over the distribution of their music and to forge fairer connections between creators and listeners.

SUBVERT.FM is one such alternative. Managed by a collective of musicians, according to organizational and decision-making rules developed through consultation and synergy, SUBVERT is now fully public, following months of beta testing and consolidation.

It is a new platform where you can discover new music, across all genres and from all backgrounds, united by their escape from the commercial and algorithmic formats that currently dominate.

AI-generated music is banned here, to restore the human and artisanal dimension to musical creation, reflecting individual visions and sensibilities rather than the chimeras produced by prompts that merely remix what has already been heard.

I invite you to visit SUBVERT, where you’ll find a selection of my music alongside hundreds of other independent artists to discover!

 

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