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In April 1974, Tangerine Dream explained about their ways of working and the philosophy behind their music making in an interview. The interview was made by the English journalist, Karl Dallas, who later turned into being one of the group's most regular critics regarding concert and album reviews.

Baumann: "It's real teamwork. We get into the feeling of the situation and we start to choose the instruments and the special parts from harmony up to rhythm up to the colour of the sound to get close to the situation. When we're in the right surroundings we can put more of ourselves into the music and thus have more feeling. And the equipment helps." (Melody Maker, April 1974)

In the interview they told more about those first years with experimenting rock and how the electronic instruments helped breathe new life into the band. They had become very tired of playing loud rock music and everything was getting out of hand when Chris Franke sold his drums. They felt that they had to start from scratch with a simple tone and then re-discover sound and music from there -- making new real sounds and not just imitate existing sounds.

Tangerine Dream's next project was to make music for a theatre show called Oedipus Tyrannus. This performance was produced by the English actor Keith Michell, who was very fascinated by the cosmic sound of Phaedra.

The soundtrack was recorded at the CBS studios in June and it was re-recorded at Virgin's Manor studio in a version meant for release. But Tangerine Dream were not at all satisfied with the result, and hence the music was never released.

Some of the music was nevertheless released; some pieces from Oedipus Tyrannus were "recycled" on the later live album Encore. In different places on the track Desert Dream the music from Oedipus Tyrannus seems to be put in between bits of live recordings from 1977.

While Tangerine Dream were working on Oedipus Tyrannus, the success of Phaedra was paving the way for a longer tour of some 20 concerts in England later that year.