{"id":1166,"date":"2025-05-16T14:00:00","date_gmt":"2025-05-16T14:00:00","guid":{"rendered":"https:\/\/musictechohio.online\/site\/peter-baumanns-old-and-new-dreams\/"},"modified":"2025-05-16T14:00:00","modified_gmt":"2025-05-16T14:00:00","slug":"peter-baumanns-old-and-new-dreams","status":"publish","type":"post","link":"https:\/\/musictechohio.online\/site\/peter-baumanns-old-and-new-dreams\/","title":{"rendered":"Peter Baumann\u2019s Old and New Dreams"},"content":{"rendered":"<div>\n<figure><img decoding=\"async\" src=\"https:\/\/static.spin.com\/files\/2025\/05\/Peter-Baumann-Credit-Jane-Richey__058-e1747235994150.jpeg\" width=\"\" height=\"\" alt=\"Peter Baumann (Credit: Jane Richey)\"><\/figure>\n<p>Peter Baumann left Tangerine Dream\u2014the pioneering German electronic group founded by the late Edgar Froese\u2014for good in 1977, after helping shape the emotive synth sound found on albums like <em>Phaedra <\/em>and the soundtrack to <em>Sorcerer.<\/em> Since Baumann\u2019s departure, Tangerine Dream went on to release something like 75 more studio albums, not including their abundant soundtrack work and live material. Baumann, on the other hand, has produced only a handful of records, most of them from the late-\u201870s.\u00a0<\/p>\n<p><em>Nightfall<\/em>, released on May 16, is his second solo album of this century, following 2016\u2019s <em>Machines of Desire<\/em>. While that album explored the darker side of the silicon romance of his \u201870s output (Daft Punk learned a thing or three from Baumann\u2019s 1979 masterpiece <em>Transharmonic Nights<\/em>), <em>Nightfall<\/em> has more of an introspective feel, with Baumann mixing his austere electronic explorations with more natural tones and timbres, including hand percussion, saxophone, guitar, and chirping crickets.\u00a0<\/p>\n<p>More from Spin:<\/p>\n<ul>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/05\/foo-fighters-josh-freese\/\">Foo Fighters Part Ways With Drummer Josh Freese<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/05\/pavement-film-soundtrack-colbert\/\">Pavement Reveal \u2018Pavements\u2019 Soundtrack, Visit \u2018Colbert\u2019<\/a>\n\t\t<\/li>\n<li>\n\t\t\t<a href=\"https:\/\/www.spin.com\/2025\/05\/the-black-keys-new-album\/\">The Black Keys Detail New LP, \u2018No Rain, No Flowers\u2019<\/a>\n\t\t<\/li>\n<\/ul>\n<figure class=\"wp-block-image aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"960\" height=\"960\" src=\"https:\/\/static.spin.com\/files\/2025\/05\/BB480-Peter-Baumann-COVER_RGB.jpeg\" alt=\"\" class=\"wp-image-463766\" srcset=\"https:\/\/static.spin.com\/files\/2025\/05\/BB480-Peter-Baumann-COVER_RGB.jpeg 960w, https:\/\/static.spin.com\/files\/2025\/05\/BB480-Peter-Baumann-COVER_RGB-340x340.jpeg 340w, https:\/\/static.spin.com\/files\/2025\/05\/BB480-Peter-Baumann-COVER_RGB-768x768.jpeg 768w, https:\/\/static.spin.com\/files\/2025\/05\/BB480-Peter-Baumann-COVER_RGB-498x498.jpeg 498w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\"><\/figure>\n<p>Most of the song titles on <em>Nightfall <\/em>indicate themes of isolation and disorientation\u2014\u201cLost in a Pale Blue Sky,\u201d \u201cOn the Long Road,\u201d and \u201cA World Apart.\u201d And though the shadowy melodic palette of these tracks does tend toward the sinister, there\u2019s little sense of aimless wandering. Baumann\u2019s keys can be abstract or ambient, foreboding or mechanistic, but he keeps a sense of momentum in play. \u201cOn the Long Road\u201d opens with a digital pulse strung between sparse, booming drums, mysterious, rotor-like flapping sounds, and industrial echo. It ends about four minutes later, the pulse still there, after an interlude of buzzing, spidery guitar and xylophone-esque murmurs. Likewise, the nebulous choral layers of \u201cLost in a Pale Blue Sky\u201d are held together by a booming, intermittent heartbeat, its toll creating a tidal gravity. Baumann\u2019s music may be adrift, but it knows where it\u2019s going.<\/p>\n<p><em>Nightfall<\/em> gathers shape as the album progresses, as if following a cycle. \u201cFrom a Far Land\u201d features an insistent keyboard motif reminiscent of the neon-lit \u201880s, minus that decade\u2019s demonic excess, and a recurring smeared synth tone that provides some ominous drama; if it were a little more up-tempo, it\u2019d sound like the theme to a posh sci-fi thriller. By the time \u201cI\u2019m Sitting Here, Just for a While\u201d arrives, with its probing bass notes and flutelike synth melody, a balance seems to have shifted\u2014the starry void of space has been replaced by the deep well of the inner self. The title track closes the album, with its serene vocal effects and an eerie glow to the rustling wind of the percussion, while the tentative synth melody has a surprisingly spontaneous spark that sticks out among the nocturnal dirges. It\u2019s not enough to prevent the light from vanishing, but Baumann at least makes dusk\u2019s descent feel like a necessary return, providing a haven for the weary and a respite from the disillusions of the day.<\/p>\n<\/p>\n<p>To see our running list of the top 100 greatest rock stars of all time, <a href=\"https:\/\/www.spin.com\/2021\/07\/the-greatest-rock-stars-of-all-time\/?utm_source=yahoo&amp;utm_medium=bottomlink&amp;utm_campaign=yahoolink\">click here<\/a>.<\/p>\n<\/div>\n<div style=\"margin-top: 0px; margin-bottom: 0px;\" class=\"sharethis-inline-share-buttons\" ><\/div>","protected":false},"excerpt":{"rendered":"<p>Peter Baumann left Tangerine Dream\u2014the pioneering German electronic group founded by the late Edgar Froese\u2014for good in 1977, after helping shape the emotive synth sound found on albums like Phaedra&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[117,577,24,88],"tags":[],"class_list":["post-1166","post","type-post","status-publish","format-standard","hentry","category-new-music","category-peter-baumann","category-pushly","category-reviews"],"_links":{"self":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/1166","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/comments?post=1166"}],"version-history":[{"count":0,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/posts\/1166\/revisions"}],"wp:attachment":[{"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/media?parent=1166"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/categories?post=1166"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musictechohio.online\/site\/wp-json\/wp\/v2\/tags?post=1166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}