"Atem" was Tangerine Dream's fourth album, released in 1973. In many ways, it marks the group's furthest departure from the world of rock and pop and the closest they ever came to the sound world of the classical avant garde.

The opening title track, 'Atem' (the German word for 'breath') clearly builds upon earlier TD material, like 'Alpha Centauri' and 'Zeit', being similar both in scale-it is over 20 minutes long-and style. In many ways, it is an updating of "Electronic Meditation", with Chris Franke's tom-tom drumming providing the main impetus over mostly organ and synth sounds in its early parts, and for its almost organic overtones. 'Atem' is a beautifully structured work and has an exquisite central section, with a quiet heartbeat pattern played on tom toms, over an eerie mellotron loop and some beautifully textured patterns of white noise and, later, throbbing VCS3 sounds.

The next track, 'Fauni-Gena' is another largish work (almost 11 mins) which continues in a similar vein. The sound world here is suggestive of the primitive rainforest, with, once more, a haunting mellotron loop over the sounds of exotic birds and other creatures (whether real or synthesised is never obvious) carrying the listener's imagination off to far away times and places. 'Circulation of Events' is another typical early TD meditative piece, featuring sustained organ and synthesiser notes over a rising VCS3 pulse. The final track, 'Wahn' (another German title: this one means 'delusion'-in the sense of that which gives rise to insanity!) is unique in the Tangerine Dream canon, however, in consisting of little beyond vocal utterings (grunts, mutterings, screams, shouts and so on) echoed and reverbed, until a rising percussion line restores some semblance of decorum and a gentle mellotron theme sings the work to a close. This is a track owing more to Ligeti's 'Aventures' and 'Nouvelles Aventures' and works of that ilk, than to anything from the rock or pop world. Perhaps the closest you can get to this nowadays would be Trevor Wishart's 'Vox cycle'.

This CD is a remastered release from original master tapes by TD's own Eastgate studio, so is probably as definitive a release as could be achieved. Its analogue origins remain apparent throughout, however, with tape hiss being quite prevalent, especially through the quieter passages, of which this disc has plenty. This needn't put you off, though, as the material more than makes up for these technical shortcomings, and I'm happy to report that the release is free of any particularly disturbing remastering artefacts.

The long and astonishing career of TD can be roughly divided into five periods: The early ambient/electronic years ('69-'73-it should be noted that the term 'ambient' was not used at that time), the subsequent rhythmically electronic years ('73-'79), the Schmoelling years('80-'86), the Haslinger years ('87-'90), and the Jerome years ('91-present). With the exception of the Jerome years, all periods produced innovative landmark albums. Examples: Zeit, Phaedra, Pergamon, Force Majeure, Cyclone, Logos Live, Exit, Tangram, Underwater Sunlight, to name only a few. And, of course, Atem. Although, musically, Atem is similar to Zeit and Alpha Centauri, the overall feeling is somewhat different, as, I think, it was intended to be. Zeit is obviously inspired by the infinite and obscure object of Time, and it does a superb job introducing the listener to Time and beyond... Alpha Centauri, dedicated to all people who feel obliged to space, is an early space music album, also very nicely done. Atem, even more innovative than its predecessors, with very impressive electronics, is also a 'soundscape' album, except that, this time TD takes a daring tour into the realm of metaphysics, beyond time and space, even beyond our known universe. A thrilling, ominous introduction, in which one gets the feeling that an army of spirits is marching, opens the album, followed by some incredible soundscape electronics. The person who takes time to listen to this CD, especially at night, will be richly rewarded. It is like a soul travel to vast and empty plains, to frozen wildernesses, to deep caves, to different dimensions. One needs only to keep a relaxed mind to fully experience Atem. The titlle track Atem, Circulation of Events and Fauni Gena tie together 'logically' but also with great imagination in a neoclassical way. Wahn, although initially distracting because of those weird screams (real human screams, not synthesized!), turns into a beautiful closing instrumental, with a vibrant, pulsating organ leading. Atem is not merely an awesome electronic CD, it's one of the most important works of contemporary music.

Tangerine Dream was going through a slow period of transition from 1970's "Alpha Centauri" to 1974's "Phaedra". This album represents a step in that transition where the band finally begins to embrace electronic instruments as their primary tools, while still holding on to some of their "Alpha Centauri"-type experimental approach. This is the last TD album released before they went to England to record with Virgin, and also the last studio album to feature drums until 1979's "Cyclone".

Personally, I find this album somewhere between the industrial freakouts of "Electronic Meditation" and the icy moonscapes of "Zeit". There are some wild and crazy moments, but the disc is dominated by a sense of space, and empty quietness. Quite a lot of the album sounds like Zeit outtakes or backing tracks waiting for a solo, but they provide a nice contrast to the louder, more upfront moments.

This is the first TD album to feature the Mellotron, which would become a staple of the Tangerine Sound in the following decade. The album is drenched in Mellotron, but the instrument is most prominent in the first two tracks, the sidelong epic "Atem" and the shorter, mysterious "Fauni-Gena". "Fauni-Gena" also contains some kind of backing track made up of jungle bird noises.

Overall, I would say that if you like "Alpha Centauri"s first side, you'll like this record. Bear in mind that the primitive recording environment is made evident in the amount of tape hiss throughout the album, but that's easy to ignore.

The dark side of Tangerine Dream. In this recording, they summarized all previous experiments with sound. The result is stunning, and there is no doubt why John Peel, a BBC DJ decided to promote a completely unknown electronic group back in early 1973. Creepy and dark music. Best consumed at night, on headphones. The title track contains all elements that I appreciate in the oldest vintage Tangerine Dream, namely: creepy, monumental tones, the feel of space and distance, danse macabre of these early analog instruments, no conventionality and lack of musical conformism. If Zeit was the interlude, then Atem is the symphony. Never later they managed to record such a creepy record. I always have goose-bumps when I listen to Fauni-Gena. After you meditatize yourself completely, at the very end of the record there comes Wahn, a grotesque track. Putting aside the modulated sound of acoustic percussion, one might say that this is a live recording of a BDSM session. Brrrr. See for yourself. Highly recommended for those who want to extract the best from their experimental years.

The first record by Tangerine Dream that i heard, and i believe it to be one of their best. departing from the heavy dissonance of Ziet, Atem is a more subtle journey through strange sonics. most of this album is fairly difficult to describe, and i wouldn't say it has a very deffinite emotional context, being rather abstract. most of the sounds are created with high pitched moving synths and melotrons, though there are some lower sounds and a few very good drum portions. while at first i did not really get it, this album's strange feel became very infectious. i can recall listening to Fauni-Gena, and someone coming into my room and saying, 'what are you listening to, an aviary?' anyway, while i find it rather difficult to review this album, i must say that some of the complaints for this work are that it is less harsh than Ziet, but i really don't think it would have been great if they had simply done that album a second time. this is much more subtle, but itself rather strange and dissonant.