ERUPTION

Eruption is the third and final studio album by the German experimental electronic group Kluster. It is the last album to feature the original trio of Conrad Schnitzler, Dieter Moebius, and Hans-Joachim Roedelius. Soon after this recording Schnitzler left the band to join Tangerine Dream with Edgar Froese and Klaus Schulze; the remaining duo of Moebius and Roedelius continued recording as Cluster. Unlike Kluster's first two albums this one was recorded live, at the band's final performance in 1971. This, however, is irrelevant as there is no audience noise and the sound is studio-quality. On this album the band continues to experiment with acoustic instruments and electronic devices to create abstract "electroacoustic music" in the form of improvisatory, stream-of-consciousness ambient jams. The music is very adventurous and experimental in nature, and far more "industrial" than the other, more popular Berlin School electronic works by the likes of Klaus Schulze and Tangerine Dream. Eruption is closer in spirit to the very first albums by these artists, as well as other experimental composers of that era such as John Cage and Steve Reich.

Eruption is a more listenable and engaging work than its two predecessors. It is entirely instrumental, without the annoying recitations of scripture present on Klopfzeichen and Zwei-Osterei. The album is a suite of two lengthy sound collages, 31 and 25 minutes respectively, separated mainly to fit the vinyl format (or perhaps they had an intermission half way through the concert). The music contrasts acoustic instruments with electric ones, mixing guitars, basses, organs, cellos, violins, percussion, etc.; often manipulating their sound with electronic effects and tape feedback. The use of acoustic drums and percussion as a backdrop for electronic effects is particularly notable; together they create a surprisingly deep ambient sound. The album is largely a study in drones and distortion using stringed instruments, both electric (i.e. guitar) and acoustic (cellos). The production is perfect and the music makes full use of dynamics, creating an immersive ambient experience that feels multidimensional. The album also makes an impressive use of sonic layers, with each sounding as if it emanates from a different point in a large chamber (it was probably recorded in one). The echo created by the room adds a perfect extra dimension to the music. Fortunately it was taped perfectly as well; the listener will feel as if present at the performance.

The first side opens with creepy echoing noises: first cello, followed by distorted guitar, then other instruments and effects enter. The piece builds up as more sounds join the symphony and create additional layers; it wanders through a diverse palette of moods, from dreamy and droning, to worried and abrasive. Side two is a little more intense with multiple layers of percussion annd drones. The piece icludes a completely unconventional and wonderful guitar solo, reminiscent of Edgar Froese's solo on Electronic Meditation. The middle section is the loudest and most abrasive point of the album, resembling Merzbow's better works. This is followed by a contrasting quiet section where a single flute performs a haunting solo over a distant electronic hum.

Eruption is a masterpiece of sound art and a milestone in the development of ambient music. It should appeal to any fan of experimental electronics and the "cosmic" side of Krautrock. This is my favorite album from the Kluster/Cluster canon, and along with Cluster 71 and Cluster II makes an essential purchase for any enthusiast of vintage German electronic scene. This music was very innovative at the time of its release and stood the test of time, remaining relevant and widely influential today. However, keep in mind that this is very avant garde music, and the listener should be prepared for ambient soundscape with an abrasive edge and practically no melody or pronounced structure. Five stars from me.