Eneathedevil

Lew, you made me search, and the result is that I don't understand a thing. Many conflicting news items, a few certainties. It starts from an assumption: everything probably originated with "Lucy in The Sky With Diamonds," where the unusual words "kaleidoscope" and "tangerine" (the tangerine is a variety of mandarin with a reddish skin found in certain U.S. regions, from which by extension (?) the color itself derives) should have inspired Kaleidoscope and/or Tangerine Dream. The issue would be clearer if we could assert that Kaleidoscope came before TD, and then the sequence would be Beatles ---> Kaleidoscope ---> Tangerine, but I read in some notes that there exists a single from '66 (before this, which is the first of the Kaleidoscope) by Tangerine Dream, which evidently took the name before Kaleidoscope, or at least it's not certain that they are later. However, we're almost there: the names emerged more or less simultaneously, one for a group, one for an album of a group. But it's certain that one of the two inspired the other (and that they weren't both independently inspired by Lennon and McCartney), because "tangerine" is indeed mentioned in "Lucy in The Sky," but it refers to "tangerine trees," not "tangerine dream," hence there’s an additional cognitive leap in connecting "dream" with "tangerine," which it’s almost impossible that the two groups would have done independently. There’s little information online; if anyone has a specialized magazine, please let us know.

But was there? I missed this review! Well done, stargazer, for evoking this masterpiece. Modern, eclectic, versatile. Power to Vangelis.

And this one is intriguing too. What is the connection between the Tangerines (which came shortly after) and the title of this? I don't know anything about it.

always interesting proposals, lewis, for a group that I have been looking forward to getting to know for a while.

This finally combines the caranascialesco Lukin of the comments with the serious Lukin of the reviews!

Welcome back, dear, great digression that I completely support: when I arrived on Debaser I knew little to nothing about Area and Balletto di Bronzo, even less about Picchio dal Pozzo and Rovescio della Medaglia; this more niche progressive school has its undeniable value, but I don’t think the more commercial BMS and especially PFM have anything to envy. Obviously, "commercial" should be taken with a grain of salt. In memory of Banco. Your thousand tissue paper elevators going up and down endlessly, no one going down, no one ever going up...

By the way, guys, I took a quick glance at Krautrocksampler, so I might have missed something. But among the 50 recommendations at the end of the book, this one stands out. And Cope also talks about it at the beginning, praising "Krautrock" and mentioning Faust IV along with a handful of other records (Amon Düül and Cluster are cited); what list wouldn’t include it among the recommended? In any case, the top 50 also lacks some fleshy stuff; I’ll just mention one to please: "Malesch" by Agitation Free.

But when ever, Anto: aside from the fact that I trust the Zingarelli and consider the Devoto-Oli one of the greatest bluffs in the history of linguistics, I feel obliged to specify that Enea is good and right. And patient, because this isn't the first time you've given him a miserable 3 when he deserves a 5, thanks, and a kiss on the navel. But you don't appreciate it. And you hurt me.

And yes, to hear hear hear hear...

And you got it right, ajè! Personally, I might not believe it's the best of Italian production, but it's definitely a unique and unimaginable episode in that context. From Chopin to Glass, from Riley to Budd, how many references. Thanks to Aristarco for bringing it to Debaser, to odra for promoting it: this is the best Debaser, the one that rediscovers talents and becomes their herald.