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Mirage: An Electronic Winter Landscape [2/1]
 

Mirage: An Electronic Winter Landscape [...

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Mirage: An Electronic Winter Landscape [2/1]
"Mirage [Deluxe Edition] [Digipak]" (02/01/2005) Rock & Pop Schulze, Klaus, Inside Out MusicSolo performer: Klaus Schulze (keyboards). Recorded at Studio Panne Paulsen, Frankfurt, Germany in January 1977. Personnel: Klaus Schulze (keyboards, synthesizer). This classic album by Klaus Schulze opens with "Velvet Voyage," a minimal, echoing electronic composition that sounds like a lonely satellite drifting as it passes alone though the hollow quiet of the universe. These swirling electronics--frequently described as space music--suggest the infinite movement of weightlessness. When distant organ chords (and distorted vocal whispering) turn into heavenly melodies, it is obvious we have arrived at "Crystal Lake," which is not space at all, but an alternate reality crammed with brilliant, shimmering fields of energy. Pleasantly chaotic sonic elements are slowly introduced until they reach the frenzied crescendo of a synthesizer orchestra. Schulze has said he's interested in creating music for alternative worlds, and this marvelous album makes good on those intentions.

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Das Wagner Disaster [2/21]
 

Das Wagner Disaster [2/21]

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Das Wagner Disaster [2/21]
"Das Wagner Desaster: Live [Revisited] [Blister]" (02/21/2006) Rock & Pop Schulze, Klaus, Inside Out MusicPersonnel: Klaus Schulze (keyboards, mini-Moog synthesizer, computer, sampler); Dennis Lakey (vocals); Klaus Schulz (sampler). Audio Mixer: Andre Zenou. Liner Note Author: Albrecht Piltz. Recording information: La Cigale, Paris, France (05/27/1994-05/31/1994); Teatro Valle, Rome, Italy (05/27/1994-05/31/1994). Photographer: Klaus D. Mueller. Translators: Markus Schurr; Matt Goodluck. Klaus Schulze staged two legendary concerts in 1994. They were on the 27th and 31st of May respectively. At that time, Schulze's fans were clamoring for a CD of remixes of his older material. He gave them something different. Das Wagner Desaster: Live is a double CD from those concerts. The source material for each show is the same, but the mixes are different. CD one is "The Wild Mix" and CD two is "The Soft Mix." The music is pure Schulze. It is classic Berlin school electronica by a master practitioner of the style. Schulze surrounds his deep sequences with vast atmospheres and dramatic melodies. This CD is important for e-music fans. For Berlin school collectors, it is essential. ~ Jim Brenholts Klaus Schulze staged two legendary concerts in 1994. They were on May 27 and 31, respectively. At that time, Schulze's fans were clamoring for a CD of remixes of his older material. He gave them something different. Das Wagner Desaster: Live is a double CD from those concerts. The source material for each show is the same, but the mixes are different. CD one is "The Wild Mix" and CD two is "The Soft Mix." The music is pure Schulze. It is classic Berlin school electronica by a master practitioner of the style. Schulze surrounds his deep sequences with vast atmospheres and dramatic melodies. This CD is important for e-music fans. For Berlin school collectors, it is essential. [The 2006 edition features one bonus track.] ~ Jim Brenholts

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Vanity Of Sounds [1/31]
 

Vanity Of Sounds [1/31]

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Vanity Of Sounds [1/31]
"Vanity of Sounds [Digipak]" (01/31/2006) Rock & Pop Schulze, Klaus, Inside Out MusicVanity of Sounds was originally released in 2000, as disc one of the ten-CD box set Contemporary Works I. SPV's Revisited subsidiary gave it its first single release in 2005, early in its career-encompassing reissue program of Klaus Schulze's discography. The album consists in four long pieces (between 15 and 23 minutes each). Compared to the four-volume Ballett series (also taken from the Contemporary Works I box set), the music here is more consistent and closer to Schulze's long-established sound -- no Arabic influences here, no techno episodes. In fact, Vanity of Sounds marks a return to an earlier sound, closer to Dreams and Miditerranean Pads, or even Dig It. The pieces are long and slow-evolving as usual, and sequenced as if forming four movements of a single continuous 78-minute work, an impression strengthened by the reappearance of sounds or figures from one track to another (for instance, the Gregorian chant embedded in "Sacred Romance" briefly resurfaces at the end of "The Wings of Strings"; the vocoder voice providing the backbone of "From Words to Silence" had been glimpsed in "Vanity of Sounds"). "Vanity of Sounds" and "The Wings of Strings" are the best tracks from this set, the first one a typical Schulze workout, the other a slightly edgier piece. "Sacred Romance" milks its motive and Gregorian mood dry rather quickly. Without being a true highlight, "From Words to Silence" surprises with its dub feel -- is this the result of a Bill Laswell influence picked up from the Dark Side of the Moog collaborative series? A fair album overall, recorded at the onset of the 2000s, a decade that hasn't been gentle on Schulze, except for a couple of brilliant exceptions. ~ Fran?ois Couture

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Moonlake [Digipak] [10/25] *
 

Moonlake [Digipak] [10/25] *

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Moonlake [Digipak] [10/25] *
"Moonlake [Digipak]" (10/25/2005) Electronic Schulze, Klaus, SPVPersonnel: Klaus Schulze (keyboards); Thomas Kagermann (vocals, violin). Recording information: 2003-2005. Photographer: Claus Cordes. Translators: Markus Schurr; Matt Goodluck.

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Dreams [2/1]
 

Dreams [2/1]

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Dreams [2/1]
"Dreams" (02/01/2005) Rock & Pop Schulze, Klaus, Inside Out MusicPersonnel: Klaus Schulze (electronics); Ian Wilkinson (vocals); Nunu Isa (guitar); Andreas Grosser (piano); Harald Asmussen (bass guitar); Ulli Schober (percussion). It's art's dirty little secret that a work often won't move an audience until they first make a leap of faith toward the artist. And for Klaus Schulze's small legion of leapers, Dreams is another modest triumph. The cover art seems to promise Zen 'n' EM, while in fact the title track may be the most disturbing piece Schulze has written. It starts with a symphony of street noises before painting (and that verb always seems to come up in a discussion of Schulze's music) a scene of barren, oppressive isolation. (If that description doesn't help, think of 2001: A Space Odyssey or TD's Rubycon.) "Five to Four" does work with Oriental colors, conjuring bells, gongs, and water drops that build toward some greater Om before lighting a fire under the arrangement. The opening "A Classical Move" and closing "Klaustrophony" are more typical of Schulze's late-'80s work: musical engines driven by cogs of varying size that result in uneven rhythms and intriguing if awkward strides. Unfortunately, the nearly half-hour "Klaustrophony" unravels midway through when Ian Wilkinson (uncredited on the Magnum America reissue) engages in a half-sung dialogue. Dreams isn't as well suited to meditation as some of Schulze's albums because the songs themselves are very different. The similar-sounding Miditerranean Pads, for example, transitioned better from song to song, but Dreams is at least its musical equal. Just be careful not to let the cover art cloud your perceptions; most of this music bears no connection to Oriental or Zen themes. ~ Dave Connolly

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En=Trance [Remaster] [4/5]
 

En=Trance [Remaster] [4/5]

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En=Trance [Remaster] [4/5]
"En=Trance [Revisited] [Remaster]" (04/05/2005) Rock & Pop Schulze, Klaus, Inside Out MusicRecording information: Hambuhren (1987). Just when his listeners think they have him pegged, Klaus Schulze surprises them. On En=Trance, he follows his usual pattern for a while, then goes in a totally new direction. This album has Berlin school sequences and overt rhythms, but the sequences are extended and the rhythms do not dominate. Schulze uses deep atmospheres, symphonic synths, and experimental sci-fi sounds to create these trance-inducing soundscapes. The drawn-out sequences have atmospheric textures and the symphonic synths are smooth and direct. This is one of Schulze's stronger efforts. ~ Jim Brenholts Just when his listeners think they have him pegged, Klaus Schulze surprises them. On En=Trance, he follows his usual pattern for a while, then goes in a totally new direction. This album has Berlin-school sequences and overt rhythms, but the sequences are extended and the rhythms do not dominate. Schulze uses deep atmospheres, symphonic synths, and experimental sci-fi sounds to create these trance-inducing soundscapes. The drawn-out sequences have atmospheric textures and the symphonic synths are smooth and direct. This is one of Schulze's stronger efforts. [This version of the album includes bonus material.] ~ Jim Brenholts

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Moondawn [1/31]
 

Moondawn [1/31]

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Moondawn [1/31]
"Moondawn" (01/31/2006) Rock & Pop Schulze, Klaus, Inside Out MusicPersonnel: Klaus Schulze (organ, keyboards, synthesizer); Haraold Grobkopf (drums). Recorded at Studio P-anne-Paulsen, Frankfurt, Germany. As one of the original members of Tangerine Dream, Klaus Schulze certainly blazed some important trails on the virgin terrain of early-1970s electronic music--trails that would grow wide enough to accommodate millions of travelers throughout the '80s, '90s, 2000s, and beyond, and encompass everything from New Age and ambient music to drone and chill-out techno. The same commitment to innovation marks Schulze's solo discography, from which 1976's MOONDAWN emerges as one of the highlights. Comprising two long compositions ("Floating" and "Mindphaser"), MOONDAWN is vintage, ambient space music generated by various analog synthesizers (foremost of which is the Moog, the key instrument Schulze used to sculpt his signature sound). Not only is MOONDAWN an important document in the early chapters of electronica, but it stands up remarkably well beside the countless albums it helped inspire.

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Picture Music [Remaster] [4/5]
 

Picture Music [Remaster] [4/5]

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Picture Music [Remaster] [4/5]
"Picture Music [Remaster]" (04/05/2005) Rock & Pop Schulze, Klaus, Inside Out MusicThough recorded in August 1973 (shortly after Cyborg), Picture Music was not released until January 1975. The album contains two side-long mantras of electronic meditation, "Totem" and "Mental Door." The first begins with a quiet bubbling of bells (very similar to Mike Oldfield's "Tubular Bells") that is soon pushed into the subconscious by a series of percussive blips and synthetic splashes, accompanied soon after by occasional wisps of ghostly synthesizers. Not until the end of the piece do the percussive pinpricks relent, yielding to a wash of effects and the austere energy plasma sounds that marked Tangerine Dream's work from this period. The sum effect of "Totem" is frankly underwhelming -- both the improvised nature of the music and its limited sonic palette are likely to draw the fire of electronica's critics, although as a focal point of meditation the piece is not without merit. "Mental Door" is more agitated in tone, led by a sinister-sounding keyboard that ensnares the listener like a snake charmer. The frenzied drum playing that appears midway through is fairly impressive, but like Vangelis' Hypothesis, the music's avant-jazz overtones haven't aged especially well, and aren't exactly conducive to meditation (which would seem to be Klaus Schulze's main attraction). Picture Music is more percussive and limited in scope and effect than the work of Tangerine Dream, a vantage point from which many may be approaching Schulze's work. The album has been re-issued a number of time over the years (resulting in two different versions of cover art), including a digitally remastered compact disc available as a Dutch import. ~ Dave Connolly

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Audentity [6/28]
 

Audentity [6/28]

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Audentity [6/28]
"Audentity" (07/19/2005) Rock & Pop Schulze, Klaus, Inside Out MusicIn most parts of Europe, Audentity was only available as a double LP; however, Illuminated Records saw fit to release a single-LP version of the album in the United Kingdom, deleting the original tracks "Cellistica" and "Sebastian im Traum." It's this version that U.S. collectors were more likely to find in their local import bins, so some may be surprised to find that they've in effect been shortchanged by half. What remains from the original double LP is still very good, so "shortchanged" may be too strong a word. Both the three-part suite on side one and the side-long "Spielglocken" are interesting, compelling electronic pieces. The opening "Tango-Saty" is a fantastical animal too unnatural for Saint-Sa?ns' zoo, prodded on by percussion that percolates to its own whims, forcing the beast to alternately lope and limp in comic fashion. "Amourage" changes the setting dramatically, transporting the listener to some stillborn landscape where the wind snakes through broken bamboo trees. Underneath, a piano adds to the placid atmosphere, recalling in some ways the muted and remote accompaniment used by the Residents on occasion. "Opheylissem" returns to the sounds of the opening piece, with the percussion's unpredictable flams and beats bullying the music from both sides. "Spielglocken" is typical of Klaus Schulze's maddeningly tight patterns, featuring cellist Wolfgang Tiepold and Rainer Bloss (on glockenspiel) in the roles of evil and good, respectively. Throughout, Schulze twists his continuous stream of sound ever so slightly, changing its direction by degrees and altering the rhythmic heartbeats accordingly. The presence of contributing players -- including Michael Shrieve, a frequent guest of Schulze in the first half of the '80s -- fleshes out the material much as Tangerine Dream was able to do. Even at half its original size, Audentity is an interesting and engrossing work. ~ Dave Connolly

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X [2/22]
 

X [2/22]

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X [2/22]
"X [Revisited] [Digipak]" (02/22/2005) Rock & Pop Schulze, Klaus, Inside Out MusicPersonnel: Klaus Schulze (Mellotron, synthesizer, ARP synthesizer, mini-Moog synthesizer, Moog synthesizer, cymbals, tom tom); Wolfgang Tiepold (cello); Harald Grosskopf (drums). Recording information: Frankfurt, Germany (01/1978-??/1978). One of the definitive albums of the electronic music pioneer's career. Each track on X or "Ten" (since it's Schulze's 10th release ) is titled after a famous German personality, but it's the provocative electronic music behind the names that makes this one of his best albums. On this two-CD set, Schulze's sequencer is joined by electric guitar and drums, that pleasingly bring an earthy, simple feel to his pastiches. Still captivating and alluring with his multi-keyboard entourage, the tracks each exhibit a personality all their own. "Friedrich Nietzsche" is the most vibrant of all six, harboring a complex but attractive aura. A true pioneer at his craft, Schulze's X is one of the more definitive albums of his career. Each track on X (or "Ten," since it's Klaus Schulze's tenth release) is titled after famous German personalities, but it's the provocative electronic music within the names that makes this one of his best albums. On this two-CD set, Schulze's sequencer is joined by electric guitar and drums, which pleasingly bring an earthy, simplistic feel into his pastiches. With Schulze still captivating and alluring with his multi-keyboard entourage, each track exhibits a personality all its own. "Friedrich Nietzsche" is the most vibrant of all six, harboring a complex but attractive aura. The 24 minutes of this synthesized voyage involve imaginative sculpturing using both the Moog and Mellotron. Extreme washes of sturdy tones and pulses make up this wonderfully crafted track, one of Schulze's best. In the same manner, the rest of the album is pure electronic bombardment. With 12 different types of sequencers and synthesizers molded, merged, and fused together, the musical landscape created is overwhelming. On both the 29-minute "Ludwig II Von Bayern" and the equally lengthy "Heinrich Von Kleist," a foreign atmosphere is bred through the multitude of variable electronics, both of the guitar and keyboard type. As each track begins to take shape, the music is dissected and laid out, but not before it forms lasting images and intricately conveys a mood. Klaus Schulze is a true pioneer at his craft, and X is one of the more definitive albums of his career, since its length and instrumental combinations make for a multifaceted electronic piece. [The 2005 reissue featured the bonus track "Objet d'Louis."] ~ Mike DeGagne

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