PICTURE MUSIC

It's hard for me to be completely objective about this album, because it was the first Klaus Schulze CD I bought (around 2001/2002). Many reviewers consider this to be good, but not great; and many fans seem to feel that Schulze easily surpassed the quality of Picture Music at several points later in his career.

But to me, this is a 5-star masterpiece.

I lack the vocabulary possessed by others here to describe electronic music, so I'll have to be a bit vague. I should also mention that I'm reviewing the 2005 reissue with the bonus track "C'est Pas La Même Chose," which is an alternate take of "Totem," side one of the original LP. This reissue contains the original two songs (23 minutes each) along with this 33-minute bonus track.

"Totem" is essentially Schulze improvising on a synthesizer and an organ over a rhythmic sequence. Since there is relatively little variation in texture over the LP side, and since the sequencer sets an unvarying tempo for most of the track, it has what I'd call a "trance" feel. What variations do occur are very gradual.

Sandwiched between the two takes of "Totem" is "Mental Door," a darker track which is a bit more rhythmically dynamic, thanks to the inclusion of a drumkit for the last two-thirds of the piece. In the context of the album, "Mental Door" is fairly distinct from "Totem," but in the grander scheme of Schulze's 1970s output, they are somewhat similar. The placement of "Mental Door" after "Totem" also has the impact of containing its darkness - - especially when it is followed by another half-hour of "Totem" in the form of "C'est Pas La Même Chose."

Picture Music is not wholly unlike Shulze's other 1974-1976 albums, Blackdance, Timewind, and Moondawn, and in parts reminds me of the Body Love albums. But for some reason - - probably the fact it was my first Schulze album - - I find it superior to these. Pressed to rationalize this, I might cite Picture Music's composition and cohesion in comparison to those other, admittedly very good, albums.

In my mind, one of Schulze's very best, and a masterpiece worthy of five stars.