SILHOUETTES

I bought and have listened many times to five of his next seven albums, but they just aren't nearly as good.

When he released Moonlake in 2005, it was hailed as a return to his earliest works, but I didn't bite (although now I'm tempted). The same was said of Silhouettes thirteen years later, and I decided to give it a try.

The opener, "Silhouettes," is vintage Schulze, or more correctly, vintage atmospheric Schulze. "Der Lange Blick Zurück" starts off sounding like more of the same until a Schulze-style sequencer pattern starts around a third of the way through its 22-minute length. Surprisingly, at one point, the sequence arpeggios around what seems like a major chord - - very unlike the Schulze music I'm aware of. The pad-and-sequencer-based "Quae Simplex" ("that simple" in Latin) lives up to its name, and very nearly resolves on a major chord - - though this piece too is reminiscent of 1970s Schulze. Not long after the sequencer kicks in around 1:40 of the final track, "Châteaux Faits De Vent," it's almost as if a variation of the main movement of "Quae Simplex" is being played. The substantial difference is that "Châteaux" is much more sequencer-driven.

Silhouettes is indeed a return to Schulze's early period, and it's a good album, but I'm pretty sure Schulze has created this album for personal, as opposed to commercial or even artistic purposes. In addition to those first ten albums, there are well over eighteen hours of music on seven fantastic La Vie Électronique sets (v. 1 to 7) for fans of this era of his music. Another 75 minutes, in the form of Silhouettes, was hardly needed.

Silhouettes perfectly fits the definition of a three-star album on Prog Archives: good, but not essential.

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