Let the Wind Speak.....

 

MARY DE RACHEWILTZ

(9th of July 1925 - 24th of July 2026)

SEE ALSO:

The Italian Cantos of Ezra Pound

Electronic Poetic Mysticism

Written

By

Mariusz Mandarynka

 I remember always dreaming that Edgar Froese would one day turn to the works of his dark literary namesake. Edgar Allan Poe is, after all, a perfect subject for musical visionaries like Froese. As we know, The Alan Parsons Project handled this theme brilliantly on their debut album from 1976. One could also mention the dark masterpiece by Peter Hammill, leader of Van der Graaf Generator — The Fall of the House of Usher — as well as Lou Reed, who together with a group of friends created The Raven, something like a rock opera inspired by Poe’s stories.

And now, here it is — my wish has finally come true. I admit I had doubts whether Froese could truly capture the gloomy atmosphere of Poe’s tales. In my mind, I hoped the music would revolve around the minor-key moods of Tangerine Dream’s excellent film score Motta Atma, and… fortunately, that is exactly what happened.

Of course, there is no trace of the stereotypical Tangerine Dream sequencer patterns from recent years. For example, the astonishing track “Fay Bewitching The Moon” surprised me in the best possible way. It is precisely this element of unpredictability in Froese’s music that I love so much. It’s true that in recent years his compositions have become somewhat predictable, but the fantastic, fiery cello performance moved me deeply. The musical background is also fascinating — reminiscent of his old solo albums. These pulsing, misty synthesizers tell a story, I think a mysterious one, as if something is lurking on a path full of surprising paranormal phenomena. I see beautiful yet dark visions, something like a polar aurora on the horizon, something foggy passing by… hmm… perhaps hallucinations, illusions? I must admit, the magic of this piece overwhelms me, and the only disappointment is its short duration. A pity. Every self-respecting lover of the “mandarin dream” simply must obtain this album for this mystical track alone.

But that is not the last enchantment on this release. Here comes “Cycle Of Eternity”, which begins in darkness and then transforms into an extraordinary, eclectic musical journey. Once again, we hear cello improvisations, beautifully highlighting the historical aspect of the era in which the extraordinary protagonist of this musical tale lived and created. There are graceful melodies that gently weave into a ticking, sizzling pulse forming the backbone of this intriguing composition. The combination of cello and modern synthesizers fills me with admiration — something that hasn’t often happened in Tangerine Dream’s recent productions. Is this the end of my subjective impressions? Not at all.

“Death In The Shadow”, as its dark title suggests, is not a trip to a sunny beach — it is an entry into the mysterious, shadowy world of Poe’s stories. Froese’s musical vision introduces his modern instrumental palette, and fortunately it does not clash with Poe’s darkness. The electronics open our senses even further; through various sonic details Froese expands my admiration for what Poe once created with his pen.

The final composition, “Darkness Veiling The Night”, is a very melancholic ending to the album. The sonic ornaments are surprising, and the music — despite dealing with a dark subject — is charming and gives a kind of positive energy. At least that’s how I perceive it; this is only my subjective commentary. But I think it would be very unfair to dismiss this release as “just another Edgar production.” Absolutely not. If someone disagrees, so be it. I fear that in an era of emotionless music consumption, in these schizophrenic times, this Tangerine Dream work may be forgotten. I listen to this disc again and again, constantly discovering fascinating sonic details. To encourage Tangerine Dream fans to buy this album, I’ll mention the characteristic analog sounds used by Froese — the very ones that defined the band’s sonic identity in the 1980s. Those who love such now‑cult albums as Poland, Exit, or White Eagle will, thanks to The Island Of The Fay, once again experience moments of mandarin‑colored delight.

I strongly recommend this new Tangerine Dream work. Yes — work of art. I have absolutely no doubt about that.

SEE ALSO:

Dante's Inferno

The Solitude of Heroic Death

The grave steel of the shipwrecked Demokleides – A minimalist work from the 4th century BC about the immenseness of the sea, the solitude and the pain of a heroic death.

The deceased Demokleides, son of Demetrius - his name is engraved on the epistyle, above his head - is depicted sitting on the ground with his knees raised, in front of the prow of a war trireme, as indicated by the protruding, curved ram.

He wears a tunic with short sleeves and sits on his chlamys. He has placed his weapons, a shield and a Corinthian helmet, next to him. He was a hoplite.

He supports his head with his right hand, resting on his knees, immersed in immense sadness for his lost life or for his cruel fate that destined him to remain unburied far from his homeland.

The sculptor emphasizes the idea of the infinite sea by shrinking the figure of Demokleides, placing him high on the stele, leaving a large void to occupy the greater area of the column, thus emphasizing the dramatic effect of his story.

The abstraction and minimalism of the column are accentuated by the absence of colors that would once have emphasized the details of the ship. The lower smooth part of the column would have been colored light blue to indicate the sea.

Both the armament and especially the ship's ram testify that the young man met a heroic death in a naval battle. The stele was probably erected by his family over his cenotaph, in his homeland, since the sea became his grave.

SOURCE: Hellenic National Archaeological Museum