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Klaus Schulze - Cyborg CD (album) cover

CYBORG

Klaus Schulze

Progressive Electronic


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soundsweird
PROG REVIEWER
2 stars This double-album reflects Klaus Schulze's love for the "machine-sounds" side of electronic music. If you liked Lou Reed's "Metal Machine Music", then this album may appeal to you. Of course, it's not as abrasive, as has a much more musical feel, but the similarites are undeniably there. I bought the album in the mid-70's, listened to it a few times, and realized that I would never be in the mood for a 20+ minute machine drone piece, let alone four of them. As usual with Klaus Schulze albums, more variety and shorter tracks would have helped this failed attempt immensely.

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Send comments to soundsweird (BETA) | Report this review (#34825)
Posted Tuesday, April 26, 2005 | Review Permalink
mark.stevenso
3 stars Now folks, how on earth do you comment on this album? Half the album is dominated by - err - cosmic orchestra, & half by organ. The whole lot consists largely of very dense drones spiced with the usual electronic "twittering" sounds. Well I'm very glad I took the trouble to return. Schulze fans who have yet to discover the very early stuff really should give this a listen. Usually stunning, always challenging, often proposterous, sometimes disturbing, this is Schulze at this purest. As the man himself wrote in the MIRAGE sleevenotes: "music as it should be".

NB The 3* star rating applies to prog; as otherworldly music it rates 5*.

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Send comments to (BETA) | Report this review (#56266)
Posted Monday, November 14, 2005 | Review Permalink
5 stars After the release of his 1972 solo debut "Irrlicht", Klaus Schulze ventured out into epic proportions with the follow-up album "Cyborg". Released as a double-album in 1973, "Cyborg" finds Klaus expanding his musical horizons breaking down many barriers in the process. Throughout its 98 minutes, "Cyborg" mixes elements of avant-garde classical music a la Stockhausen with experimental often droning electronics. 30 years after its release, it still does not disappoint. "Cyborg" opens with the beautiful "Synphara". Here, Klaus uses a 40-piece orchestra which sounds as if it were recorded on a cheap radio. Throughout the piece, Klaus creates an endless series of drones, bleeps and wind storms with his then newly acquired VCS3 synthesizer. This piece maintains the same mood throughout except when it moves towards the end. For the final six minutes, the orchestra drops out and Klaus is left alone in the mix conjuring up seas of white noise from his synth. The next track, "Conphara" is a 26 minute drone-fest opening with a chaotic cacophony of what sounds like air-raid sirens. Underneath, a steady bass pulse emerges which sets the tone for the rest of the piece. After the 'air-raid siren' intro fades out, the orchestra returns with a long dramatic theme. This is music that would not sound out of place in a horror film of some sort. Towards the end of the piece, things settle down a bit as the orchestra backs off and some delicate flutes take over. The buzzing pulse heard throughout the piece then fades into silence. The second half of the album opens with "Chromengel" (supposedly German for "Chromium Angel"). Klaus's Farfisa organ dominates this piece accompanied by a percussive rhythm from his VCS3 synthesizer. The mood of this piece is extremely dark and funeral-like. At the same time, it reminded me of walking into a giant cathedral with a large pipe organ playing consistently. There is very little change throughout this piece but it's themes and variations along with it's synthetic rhythms are superb. The closing track on the album is the experimental "Neuronengesang" ("Brain Song??"). Throughout the course of its 25 minutes, dark and grunting drones drift in and out the mix accompanied by a wandering Farfisa organ. Sharp synthetic bursts scatter throughout the piece sounding like an alien game of laser-tag. There are brief moments of calmness but for the most part, it is layer upon layer of droning pulsating tones creating an intense atmosphere. There are similarities between this piece and Tangerine Dream's "Nebulous Dawn" from their 1972 classic "Zeit". Both tracks feature the same idea of droning notes pulsing in and out of the mix. "Cyborg" was definitely ahead of its time when it was released back in 1973. Also the fact that it was a double album clocking in at nearly 100 minutes with nearly 25 minutes+ of music accompanying each side was considered quite generous for the time. It is still highly regarded as an avant-garde masterwork. Klaus wasn't finished after "Cyborg" though. After this, he went on to produce timeless classics such as "Picture Music", the groundbreaking "Timewind", "Moondawn", "Mirage" and "X", all of which are regarded as important works from this important musical genius.

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Send comments to Louie (BETA) | Report this review (#83859)
Posted Saturday, July 15, 2006 | Review Permalink
philippe
SPECIAL COLLABORATOR
Content Development & Krautrock Team
5 stars "Cyborg" is a seminal work in abstract experimental electronic music. The psycho acoustic and hypnotic effects on the listener are incredible. This double album features almost similar electronic equipments used in "Irrlicht" (acoustic strings manipulations, molecular machines, primitive keyboards). This deep meditative and almost supernatural musical adventure starts with a magical linear organic composition led by cello chords, long dronescapes with circular "intergalactic" noises. The atmosphere has something creepy, sad but released within a fragile beauty. The second part begins with an obsessional, cybernetic, industrial accompaniment, floating in a static time. In distance come modulated sounds, giving a macabre accent to the ensemble. Progressively rises monumental synth waves. Beautiful, ethereal electronic loops come from the dark. "Cyborg" second album carries on an imaginative and haunted abstract symphony. The first composition starts with organic powerful "drones" sustained by rising synth lines. The tension goes higher and the composition opens on a church like organ chant. Discreet electronic repetitive rhythms give an other dimension to this unique and unmistakable piece. The last track features an avalanche of electronic loops, effects and accidents, sometimes turning the attention of the listener with mysterious, celestial synthesiser chords. With Irrlicht, this one represents the pick of Schulze's musical creativity. No musical conformism, no definition, just exquisite traumatic dreamscapes.

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Send comments to philippe (BETA) | Report this review (#87580)
Posted Friday, August 18, 2006 | Review Permalink
3 stars Well, it deserves four stars, but I am sure many listeners would be doomed and dissapointed, as this is realla heavily experimental work. Klaus goes to areas of sound where noone has been before. He creates unique drones, good ambient sounds, but, if you concentrate to listen this, you might not come to the end, especialy if you are impatient. On the first listens, I felt strange, as I did not want to listen such a weird music. I thought: "My God! Have I gone insane?" But, wait a bit... This soundscape can reach listeners to the point where one can feel deep peace and pleasant zones. Good, but not that much essential for prog rock. Historically, very important. My favourite is the last one, as it is most dynamical. It is not machines and borgs anymore, it is pleasant dream within this one.

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Send comments to nisandzic (BETA) | Report this review (#128118)
Posted Wednesday, July 11, 2007 | Review Permalink
Neu!mann
PROG REVIEWER
3 stars ...a review of the 2006 re-mastered CD.

Klaus Schulze's sophomore solo effort, released in the stone age of electronic music (circa 1973), takes the same mind-bending sound of his 1972 debut "Irrlicht" and spreads it out over two discs, without (thankfully) diluting the impact of the album, as forceful and demanding now as it must have seemed when new.

The music was a refinement of Schulze's early, pre-synthesized experiments combining primitive electronics with pre-recorded orchestral tapes. Nothing new was added to the accomplishment of "Irrlicht" (hence the conservative 3-star rating). But when heard front to back in a single sitting it remains an epic journey of truly "kosmische" proportions-as much as Schulze bristles at the term in his notes for this CD re-issue. Maybe he shouldn't have titled the album after such a ripe sci-fi cliché, or commissioned the suitably spacey Urs Amann artwork (sadly demoted here to the CD booklet, replaced on the album cover itself by an unflattering portrait of Schulze himself, standing slack-jawed and possibly stoned in front of a laser-light display pattern).

Regardless of the presentation, this is not music for the fainthearted, in particular the throbbing subsonic juggernaut of "Conphära" (which when played loud enough can wreck your head as well as your headphones). The orchestra here, and on the more passive but no less disturbing "Chromengel", sounds not unlike a cheap mellotron, over which Schulze adds layers of industrial-strength drones and twittering electronics.

The production quality throughout is remarkable for such a simple home recording. Schulze continued to work wonders using just an organ, a VCS3 sound manipulator (not a keyboard instrument, but a small cabinet of knobs and dials), and a Revox tape machine. Keep in mind he still had his day job at the time, employed as a mailman for Deutsche Bunderspost in Berlin. And the album was, as always, very generous, stretching the limits of vinyl technology with almost 25 minutes of music per album side.

The same generosity has now been extended to the Revisited Record CD re-issues of Schulze's back catalogue, filled to the digital brim with bonus tracks and accompanied by extensive notes, photos, and essays. For "Cyborg", the four original album tracks have also been restored to their correct sequence and titles (previous CD editions apparently goofed in that respect). And half of the second LP was pushed over to Disc One, making room for the long bonus track: a live performance recorded in 1977, from Schulze's Golden Age of classic albums like "Moondawn" and "Mirage".

This is quintessential Klaus Schulze: an almost hour-long improvisation building from calm symphonic ambience to agitated sequenced frenzy and back again, revealing how he liked to structure his longer compositions. The relatively sophisticated late '70s synth patches don't quite match the abyssal mood of the "Cyborg" album itself, but consider it an olive branch of sorts, extended to fearless listeners for surviving the entire 97-minute challenge of the original double-disc.

Bottom line: Schulze's second album is an improvement on but not an advancement over his first. Nevertheless, it's a prime slice of early Klaus Schulze at his most avant-garde and inscrutable, although it should definitely be avoided late at night or while contemplating existential thoughts of mortality.

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Send comments to Neu!mann (BETA) | Report this review (#166242)
Posted Wednesday, April 09, 2008 | Review Permalink
4 stars As it can be seen on Irrlicht, KS continues his pioneering period of experimenting with organs and early synths. This album must be for many electronic music listeners very harsh and a little difficult to digest. I must say that Schulze succeeded very well on Cyborg in melting the harmony of organs with the effects of VCS 3 Synth. Let's see: CD1: Synphara starts with a very splendid organ background, then developing the effects of VCS 3 synth. Conphara is a real challenge for me, because it's so obscure and undefined. The sound is almost the same, the musical plan hardly develops into something clear. Chromengel is another challenge; perhaps it's a good point for Schulze to introduce a string orchestra;the sound is very moody, culminating in a cosmic journey and passing through a Schulze VCS 3 synth pinnacle at the end of the track. CD 2: The best track of the album is , IMO, Neuronengesang. We've got here probably, a true piece of cosmic music. Around 24 minutes, the floating atmosphere, based on excellent moog background, together with twittering sounds effects is sublime. Schulze introduces elements of percussion and the result is great. Bonus Track. I must say that But Beautiful does not fit with Cyborg, being a concert recorded a few years later. The track represents the quintessence of his golden era (the period of Moondawn and Mirage). There's 50 minutes of true cosmic journey everybody should enjoy staying comfortable on an armchair, or putting on his headphones. Overall, the album is good and excellent for someone who tries to fill in his evening.

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Send comments to Sachis (BETA) | Report this review (#167752)
Posted Thursday, April 17, 2008 | Review Permalink
russellk
PROG REVIEWER
3 stars I suspect there were those in the early 70s who believed this sort of music would replace the so-called inane pop music that had taken the western world by storm. Cerebral, demanding and symphonic in scope, KLAUS SCHULZE's 'Cyborg' is everything that pop music isn't. These four long tracks are unfailingly cold and metallic psychedelic experimentations, firmly in the kosmische school and owing a great deal both to krautrock and his origins with TANGERINE DREAM.

But this music didn't take over the world, and neither did the robots the music is named after. Instead the listening public relegated such long ambient drones to a niche market, and got on with their pursuit of soundbites. A few devotees were left listening to this material.

What is the attraction? It is the structure of the music, the slow changing of a repetitive sound into something else, the layering of one sound on another. And beyond that, there is a sense of suspended time, as there are no beats to tick away the moments. The four tracks are all over twenty minutes long, but they could be any length, really. SCHULZE creates an enormous soundscape using pre-synth instruments, and at the time this really was considered a masterwork. The pulsing background to Conphara, for example, is pure genius.

The album has its faults. The sound quality is not great, and in particular the volume rises and falls in an unpleasant fashion (for example near the end of the first track). This is in part due to the limitations of vinyl: 25 minutes a side was too long for the format, reducing the amount of information available in the grooves. The absence of anything resembling a melody adds to the bleak, monolithical nature of the album, but this listener would have appreciated some light relief, at least by way of contrast. But the major flaw is that it has not aged well. Unlike TANGERINE DREAM's 'Zeit', this really does sound at every moment a product of its time, an over-optimistic look forward to what was then seen as the inevitable triumph of machine over man. The concept is dated, the instrumentation is dated (SCHULZE embraced synthesisers as soon as he could) and the album comes off as overly sterile.

That ought to be enough warning. Don't bother unless you're a fan of this sort of stuff. That said, if you are a fan, this album is an important historical document. Just not one that invites repeated listening - except to Conphara, a magnificent track.

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Send comments to russellk (BETA) | Report this review (#171067)
Posted Thursday, May 15, 2008 | Review Permalink
5 stars Cyborg and Irlicht are the humus of the Schulze's universe, experimental and non figurative soundscapes. Only with organs and strings, all passed trough his morpher hands in the mixing board (as another musical instrument) Klaus give us an extatic story, about a organic machine, recording her breathe in a marriage with some kind of green soul. An evolution in a conception of life, unknow life, but, as the music, wispering life too. If in these times Tangerine Dream become more than a secuenced Dali's in acid soundscape , Schulze could be the Mark Ernst, avery record a mutation, ambient, symphonic or minimal, only become more physical in the begining of the 80's. In the version for Brain records, Klaus found the perfect artist for the image of the music, the painer Urs Urman, in collaboration (depending the released) till 1978. One of the must have it of avery collection.

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Send comments to Dellius (BETA) | Report this review (#184079)
Posted Monday, September 29, 2008 | Review Permalink
4 stars I love early 70's electronics! This one's right up there with the best. Imagine a more lively 'Zeit' by Tangerine Dream and you're almost there. But, Gott im Himmel don't show your friends the front cover of the most recent edition! For some reason the original creepy 'light bulb head' charachter by Urs Amann is relegated to an inside booklet. Talk about destroying sales! What you're left with is Klaus looking like he's been kicked in the nuts. Baahh!

This is beautiful beatless, late night music, the likes of which Steve Roach and Robert Rich would have been proud of.

This is dark, quiet music and far less abrasive than his opener 'Irrlicht'. Perfect for the CD medium. If you like the top 100 on the 'Prog Archives' list I'd probably stay away from this. You won't like it! But if you're in the right frame of mind -it's a brilliant.

Put it this way.... You'll either love it or hate it.

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Send comments to Dobermensch (BETA) | Report this review (#208854)
Posted Thursday, March 26, 2009 | Review Permalink
ZowieZiggy
PROG REVIEWER
4 stars This second album is less dark and oppressive than "Irrlicht". And my feeling is that the content is not so promising.

"Synphara" for instance is an extended version of the short intro from CTTE. Some sounds with birds almost for twenty minutes. OK, the keyboards layers than come on top are fine: spacey; even melodic at times. But no such brilliance like "Ebene" for instance.

Don't get me wrong though, this album holds some magnificent musical experiences The atmospheric and cold beauty of "Conphara" is in that respect the best example I can point out. The music played by Klaus and the one from TD are of course quite close in those days; and if, like myself, you love one: you immediately love the other.

This album is also getting better and better with each track. The highlight here being the crystal clear and sublime "Chromengel". Such a moving track which makes you travel all around the cosmos. It is magical my prog friends.

In all, "Cyborg" is again an essential Schulze album. Maybe not as melodic than his solo debut but still well above the three stars mark.

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Send comments to ZowieZiggy (BETA) | Report this review (#230709)
Posted Sunday, August 09, 2009 | Review Permalink
Rune2000
SPECIAL COLLABORATOR
Prog Metal Team
4 stars This is a very rewarding albums once you decide to invest some effort into it! This can probably be said about all of Klaus Schulze's great albums but the fact remains that Cyborg sounds nothing like Klaus Schulze's later releases like X and Moondawn, instead it loosely reminds me of Brian Eno's early ambient experiments!

With that being said this double-album does in fact hint somewhat of Schulze's later masterpiece Mirage but that album is way more electronic and doesn't have the organic flow that is so prominent on Cyborg. Each of these four compositions have their own unique identities which might at first not seem as such but give this album some time to settle down and a whole story will unfold in front of you!

There is really not much more to say about this release, especially since I don't want to give away any spoilers, except for a slight word of warning to keep the volume low during your first spin since some of the sound effects might catch you off guard!

***** star songs: Synphära (22:49)

**** star songs: Conphära (25:52) Chromengel (23:49) Neuronengesang (24:57)

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Send comments to Rune2000 (BETA) | Report this review (#259908)
Posted Friday, January 08, 2010 | Review Permalink
Bonnek
SPECIAL COLLABORATOR
Prog Metal Team
4 stars Schulze's beginnings are both fascinating and original, but they are a difficult listen. At that time the electronic equipment was very primitive and the resulting sound is very desolate and dark. The subtle soundscapes that he created from Timewind onwards are still a few years ahead.

While difficult and unusual, the music isn't inaccessible. And it's certainly not deliberately weird or artsy. Schulze is one of the most uncomplicated, modest and genuine artist you are likely to run into and he always shied away from any form of posing, artsy pretence of intellectualism. Still, it might frighten people away because this music has let go of two familiar musical components in our Western musical tradition: there's no repetition and no rhythm. The music flows seemingly purposeless through slowly changing chords and fluid soundscapes, refraining from repeated melodies that you can hum along with, nor is there any beat or pulse that will get your feet tapping. No, another mindset will be needed, one that can do without melodic repetition, one that can be thrilled by the abstract and suggestive power of this music.

Other similar works are Cluster's debut, Schulze's Irrlicht and Tangerine Dream's Zeit. Within that pool, Cyborg is the most accomplished for me. I would be completely at loss argument why though. The music is almost tuneless, there are organs, synths and sounds like flutes and violins that come flowing in and out. But all chord and tone changes remain unrepeated, making it impossible to discern anything we could call a melody. It's just sound, organically progressing chords, tuneless pulses, effects and atmosphere. Loads of atmosphere.

The ambience evoked is one of nightmares, paranoia, fear. Each of the 4 pieces builds its own unique sound world. While mostly stunning, some pieces drag on a bit too long for me. The opener is most compelling in its first 10 minutes but loses tension afterwards. The album closer by contrast takes quite a while to get going and works best in its second half. The best piece of all is Conphära. The pulse that Schulze creates here is hypnotizing and the sound is very lush and dreamy. I'd say it's Schulze's first 5 star moment.

If you want classic harmonious structures, this album might leave you completely cold. But if you want to give you melodic concepts a little shake then this album comes highly recommended.

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Send comments to Bonnek (BETA) | Report this review (#275171)
Posted Monday, March 29, 2010 | Review Permalink
colorofmoney91
PROG REVIEWER
4 stars Cyborg is the Klaus Schulze album for melancholy robots. Cyborgs are robots resembling human-form, but with the inability to feel and sympathize with human emotions. That is very much the sound of this album.

"Synphara" starts the album off in a dreary, dead, empty and cold atmosphere made of synthesizers and electronically manipulated classical instruments. Electronic sparking, spatial waves, cascading electronic-sparkle effects and windy drones help move the track along slowly and sadly to a finale sounding like the beach of an electronic ocean.

"Conphara" is initiated with a steady buzz and tick-tocking as synths and mellotrons eventually soar high above in the mix. The static washing-machine-like effect that serves as the backbone of this track gets stronger over time and is severely hypnotizing.

"Chromengel" is an adagio of organ, spatial electronic experiments, and a buzzing drone. The barrage of galactic squeaking, barking and squealing gives this track a very sad, almost maddening feel.

"Neuronengesang" is the most experimental of the 4 lengthy tracks. It consists of a buzzing backbone, but it varies and progresses perinnially through just about every drone, buzz, zap, and wave effect you could think of. Definitely a fantastic finale to this album

The life of a cyborg, considering that they are mechanic, is profoundly long - much like this album (almost 100 minutes). Cyborg progresses from the constant, uneventful drone that dominated Irrlicht by adding more sonic textures and more organic instruments to the mix, but it still has the same feel overall as the previous album. Fortunately, from here-on, Schulze's music would continue to get better and better. Though this album would be a bad place to start with Klaus Schulze's music, Cyborg is a great addition to anyone's Schulze collection.

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Send comments to colorofmoney91 (BETA) | Report this review (#438945)
Posted Monday, April 25, 2011 | Review Permalink
Warthur
PROG REVIEWER
4 stars Although Klaus's previous album, Irrlicht, was supposedly based on the same concept that inspired Tangerine Dream's Zeit, it's Cyborg that forms a much better response from it. Klaus Schulze takes the four side-long tracks structure of Zeit and strips it of all organic instruments, leaving only his synthesisers to create these great, glacial walls of sound within which buzzing, bleeping machines go about their business. Like Zeit, it's one of those albums where you really need to give it time to do its magic in the background rather than dipping in and out of it. This is the album which set Klaus onto the synth-dominated path the rest of his career will take, so fans of Schulze's works have little excuse not to listen to this essential chapter in his story.

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Send comments to Warthur (BETA) | Report this review (#507685)
Posted Tuesday, August 23, 2011 | Review Permalink
Guldbamsen
FORUM & SITE ADMIN GROUP
Site and Forum Admin
4 stars "Battle not with monsters lest ye become a monster; and if you gaze into the abyss the abyss gazes into you." -Friedrich Nietzsche

This is probably the most famous Nietzsche quote ever, and to the best of my knowledge also the most misinterpreted of all of his guru sentences. Roughly spoken, it means that we should be careful not to become the very thing we fight against.

Just to be totally obnoxious and join those hipster flocks, who read Nietzsche like children read the newspaper, - I´m going with the masses this time, not because I want to, but rather because the music within Cyborg is telling me to. When you stare into the abyss long enough, the abyss will gaze back into you. Oh yes my friends - with all the metaphysical madness attached to that very sentence. Oh yeah, that´s Cyborg for ya.

The music here is what happens when you´ve sat around a pitch black room for a while, and it suddenly starts speaking to you. The very moment the room starts evolving a language, and you question whether you´re mad and slightly overtired, or if there indeed is some kind of other world in existence next to ours - one which is dark and magical - summoning all that you can possibly muster to fathom what little of it you can pick up from the silence. -That very moment is the catalyst of Klaus Schulze´s brooding voyage into the spaces between the blackness. It´s like catching air with your hands.

This is Schulze´s second album, and like others here have mentioned, the structure or indeed the lack thereof highly reflects that of Tangerine Dream´s Zeit, which was recorded a year earlier. The music is very slow and brooding - moving like Sisyphus and his pet boulder up the never ending mountain. Again highly reminiscent of Zeit, but I must confess, that I find far more pleasure and emotion in this album, and to tell you why would be like explaining to a blind man the differences between the paintings of Wassily Kandinsky and Jackson Pollock...(Come to think of it, there´s a distinct laissez faire approach/casual improv going on in both artists that mirrors the feel of Cyborg very well)

Klaus Schulze was a true pioneer of the electronic genre, and what I find most gratifying, is his knowledge of "the beat" and how to work with it. This sounds like some crazy mumbo jumbo, but seeing as Klaus started out behind the drum-kit with Ash Ra Tempel, and then moved on from there into what he has become now - a synthesizer deity, - I think it´s perfectly natural to look at his work in that context. You could obviously forget about his drumming skills listening to the sluggish drones of his first solo albums, but underneath - what really makes them flow the way they do with such elegance and grace, - is in my opinion his love of the beat, and how you can be without it, and still create music that moves.

On Cyborg the synth sounds all come from the VCS3, and much like my Italian buddy Franco Battiato - they often take on mystifying caricatures of real life images - such as sounding like a common pair of Reebok shoes running over a wet gym floor. Sometimes they sound like a stuttering nightingale trying to voice its joy over something as mundane as the colour red. Although Klaus is known for these bleep bleeps more than anything else, what Cyborg really is all about, is the organs. Often soaked in melancholic cello-like treatments - and other times powering an unnerving and distressing tone that inches its way into your subconsciousness. I guess we´re back at Nietzche again now aren´t we? These organs are at the heart of these improvisations, because that is really what they are, and quite frequently they´ll present themselves as long drawn out wails that push the boundaries of just how far you can go in a certain musical note without changing it. It feels much like a billion muscles contracting all at once, for then to be released with a huge sigh as the chords change. Breathe out.

Cyborg is some kind of matter in itself - as mad as that sounds. Or maybe just a metaphor for things in the dark that we can´t see with the naked eye. Telling you how it actually sounds, gets me back to the start of my review and that darkened room talking back across the silence. It sounds like 2 enormous oil tankers dancing cheek to cheek in a slow-motion dance of death, life and love. It sounds like the universe breathing heavily into your ear. It sounds like the soundtrack of the first hour after the big bang.

It takes time and patience to unravel Cyborg´s mysteries, but once you get past the strange and cold ambiance of this record, chances are that you´ll be persuaded and enamoured by it. So by all means: take the step into whatever lies in that alluring and frightening abyss - without any hesitations. 4.5 stars.

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Send comments to Guldbamsen (BETA) | Report this review (#579381)
Posted Thursday, December 01, 2011 | Review Permalink
EatThatPhonebook
PROG REVIEWER
4 stars 8/10

Cyborg" is one of the best cosmic Odysseys put into music.

Klaus Schulze today is considered among the Top Electronic artists of all time. His contribution to the genre is massive, at the par with other outfits like Tangerine Dream, Kraftwerk or Jean Michel Jarre. However, for some reason he is considerably less known and appreciated than the above mentioned, leaving him in the shadow of these great artists. "Cyborg" was the follow up to the highly praised album "Irrlicht", which had a very concrete atmosphere and dark tones. "Cyborg" in a way is an evolution to "Irrilicht": it's much more ambitious, complete sounding, even though musically they share many qualities.

Electronics in 1973 were obviously quite primitive sounding and not exactly at the same levels as today. Electronic music was used thus in a much more experimental way, and electronic beats were not even heard at the time. Synths, before the birth of Disco, were conventionally used to do either Prog Rock or Electronic. In the case of Klaus Schulze, he doesn't do just simple Electronic music, but brings it up to Progressive Electronic, making him part of the Berlin School movement. In "Cyborg", his concept of space is not something melodic, nor rhythmic; it's pure and simple, yet extremely dense atmosphere what he creates in these enormous 90 minutes. He builds layers on layers of stretched out synth sounds, but also violins in some spots, creating bleak, yet spacey and fluent soundscapes that you could just dive into and feel like you can't ever go back. The explicit spaceness is evident when there are obvious sound references to weird space sounds, some might feel like a falling star, or a glimpse of a planet, or some sort of alien presence. These sounds make the atmosphere even more credible sounding, and, if you close your eyes, I guarantee that you'll have everything in front of you.

"Cyborg" is one of the best cosmic Odysseys put into music: the four songs on here together build one of the trippiest journeys you'll ever experience. If the first track, "Synphara", starts almost with an earthly mood thanks to the drony sounds of violins being layered, after a while the space element is finally felt, almost implying that this song is one that represents the ascent from earth to space. The more repetitive and spacey "Conphara" suggests that we're deep in space, thanks to its pulsing synth sounds. With the wonderful "Chromengel" the music isn't as claustrophobic as the previous track, feeling a lot more open and relaxed, and finally, there is some melody. The final track,"Neuronengesang", feels like a slow descent from space to earth, without however not sounding extremely evocative at all times. This makes "Cyborg" a huge, sonic circle that begins within the first minutes of "Synphara" and ends up in the same place as the beginning with the last few minutes of "Neuronengesang".

A remarkable adventure is proposed with "Cyborg", an extremely long album that however has to listened to as a whole. An essential album for Progressive Electronic and the Berlin School.

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Send comments to EatThatPhonebook (BETA) | Report this review (#613491)
Posted Thursday, January 19, 2012 | Review Permalink

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