The fourth volume of live compositions, whose presence in Tangerine Dream concerts by now have become a firmly established tradition, continues to be a highly valuable addition to one's Berlin School electronic music collection.As stated before on this blog, whenever attempted to pour into some words the rather indescribable previous Sessions releases, these lengthy live compositions constitute a stunning return of the vast live soundscapes that one could hear during Tangerine Dream concerts from many decades ago - but with an entirely up-to-date sound.The two compositions on this album were recorded live in Oslo, Norway and in Pisa, Italy, during August and October last year.The first track Persepsjontransformasjon (or, aptly called, Perception Transformation) is a perfect overture for this CD...Hearing the gentle mellotron choirs, then the patient build-up of the piece, one can again realise: what others may describe, about other music pieces, as something reaching its "inexorable conclusion", in the case of Tangerine Dream we, once again, have inexorable development.There is no self-indulgence here, despite the powers that can be unleashed, there are no static repetitions of some patterns or catchy accidents that improvising musicians may have stumbled onto and fell in love with.As with all other Tangerine Dream sessions, the discipline that is again combined with imaginative treatment of the live music elements is remarkable.We have a steady development of ideas, culminating in a fiery mid-section of sequenced Heaven. The superb organic textures produced by the violin, the semi-organic mellotron flute, and the gentle piano sounds that arrive when the tight and hypnotically powerful sequencers fade away are not elements that stand out as contrasting ones to the eminently electronic discourse.The second track entitled Four Degrees Parallax, which has another splendidly dreamy beginning, proves the same point: the intimate and gentle personality of the violin brought to life by Hoshiko Yamane, the mellotron and acoustic instrument-emulating textures emanating from Thorsten Quaeschning are in no way playing the role of gimmicky sonic contrasts against the high-octane sequencer sounds from Ulrich Schnauss and Thorsten,As this second track eminently shows, the mind-blowing sequencer sections are making, as paradoxical as this may sound to those who have not yet heard Tangerine Dream or these Sessions, a perfect home for the gentle sounds rooted in acoustic instruments (real or sampled).One can easily substantiate these claims by inviting the listener to really track how the fiery sequences pull back, dissolve in piano chords and sublime violin dialogues, then run alongside these hand in hand - to finish off with profound bass pads and an achingly beautiful violin hovering above the electronic landscape.As someone once said about a German baroque composer, there are no straight lines in his music, only curves and waves.Here we could easily say, well, paraphrase, that there are no cutting contrasts in Tangerine Dream Sessions, only fluid dialogues - between instruments with vastly different characteristics. There are no excesses nor self-indulgent show-offs, only seamless development of countless musical ideas.Once again, Sessions IV is a two-part journey. Once again, it is a true adventure that will not disappoint, with a full range of experiences ranging from utterly dreamy passages to fluid and ever-changing melodic textures to mind-expanding sequencer fireworks.As unbelievable and perhaps biased it may sound in the second decade of the 21st century, in terms of form, structure, execution and artistic intent, one finds it virtually impossible to find such electronic music that simultaneously can tick so many boxes.The band's trust in the listener picking up on the myriad ever-changing elements and joining the band in its adventures has not changed since the first inception of the live Sessions - so those pampered listeners may say that it is impossible not to expect, even audaciously demand, further Sessions releases...(Notes From A Nebula, Jan 2019)