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AUDENTITY

Klaus Schulze

Progressive Electronic


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Klaus Schulze Audentity album cover
3.41 | 57 ratings | 4 reviews | 28% 5 stars

Good, but non-essential


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Studio Album, released in 1983

Songs / Tracks Listing

Disc 1 (46:06)
1. Cellistica (24:31)
2. Tango-saty (5:47)
3. Amourage (10:37)
4. Opheylissem (5:11)

Disc 2 (49:45)
1. Spielglocken (21:24)
2. Sebastian in Traum (28:21)

Total Time: 95:54

Track listing of re-issue (2005):

CD 1
1. Cellistica (24:31)
2. Spielglocken (21:24)
3. Sebastian im Traum (28:21)

CD 2
1. Tango-Saty (05:47)
2. Amourage (10:37)
3. Opheylissem (05:11)
4. Gem (11:41) Bonus track
5. Tiptoe on the misty mountain tops (14:43) Bonus track
6. Sink or swim (10:02) Bonus track
7. At the angle of an angel (15:44) Bonus track
8. Of white nights (06:00) Bonus track

Lyrics

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Music tabs (tablatures)

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Line-up / Musicians

- Klaus Schulze / computers & keyboards, program Rainer Bloss sounds, glockenspiel
- Michael Shrieve / EEH Computer, Simmons percussion
- Wolfgang Tiepold / cello

Releases information

CD Innovative 349923 (1983)
CD Innovative CD8171952 (1983)
CD Innovative CD8171962 (1983)
LP Innovative 80025/26 (1983)
CD Magnum America 507 (1996)1997
CD Thunderbolt 505 (1997)
Revisited Records SPV 089-304132 DCD - REV 017 (2005) (re-release)

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Ballett 3Ballett 3
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KLAUS SCHULZE Audentity ratings distribution


3.41
(57 ratings)
Essential: a masterpiece of progressive rock music(28%)
28%
Excellent addition to any prog rock music collection(25%)
25%
Good, but non-essential (39%)
39%
Collectors/fans only (9%)
9%
Poor. Only for completionists (0%)
0%

KLAUS SCHULZE Audentity reviews


Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by ZowieZiggy
PROG REVIEWER
3 stars "Audentity" rimes with "Authencity".

Dear friend Klaus got back indeed to some of sublime seventies act. We are used by now to have the very good Tiepold on the cello and the great Mike Shrieve (from the great "Santana") on percussions.

Still, during the opener of this double set, I wouldn't tell that they are here for the best. I quite rather preferred the ambient and desolated start than the more upbeat second half from "Cellistica". The short "Tango-Saty" and "Opheylissem" are only worth thanks to the great percussion work from Mike. But these cold and passionless synthetic sounds are not my cup of tea. The only funny point is that the latter is the name of a small town not too far from where I live. But this is not an excuse?

"Amourage" holds some far Eastern intro which is quite welcome even if not awaited. The beautiful keyboards lines that follow are just brilliant and should reconcile us with the great man. This is another wonderful track full of tact and beauty: a formidable yet accessible trip to eternal tranquillity, peace of mind and sublime prog act. The (only) highlight.

So far, this album leaves me with ambiguous feeling. Both remaining epics will decide whether or not we are confronted with a very good or decent Schultze album.

"Spielglocken" (and not glockenspiel as some Oldfield fan could have reminded) is a song built on a crescendo mood. Needless to say that I like the scheme. It is quite hypnotic and desperately cold and feeling less. But very effective in terms of melody, attraction and result.

One just need to be conquered and join for the ride which turns out to be more upbeat after a while (some six minutes). Dear friend Mike is of course not alien to this. What a great man! The second part though is too repetitive and lacks of good moments. It is actually quite a deception. But it was good to see a collaboration between two great musicians I profoundly respect.

The closing track starts with a violin/keys duet which culminates in some powerful "end of the world" tendency. It calms down a little to leave the place to Tiepold as a solo artist. He delivers some respectful chords but again, but there is too little manoeuvring space I guess to be really catchy.

The second half of this piece of music definitely reaches boundaries that are too far from my reach. I never could go in there. These improvisation textures with no melody are too alien from my genuine perception to be appealing. Brutally avant-garde; that's all.

In all, this album is quite hermetic, long and offers little harmonious moments: "Amourage" being the best track of the whole as far as I am concerned. It is impossible for me to go over the three stars rating for this "Audentity" that started better that it ended. It is the most experimental work of the man so far and I far much preferred his superb and melodic work from the previous decade.

Three stars (but this is rounded up really).

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Send comments to ZowieZiggy (BETA) | Report this review (#241680) | Review Permalink
Posted Saturday, September 26, 2009

Review by Mellotron Storm
PROG REVIEWER
3 stars "Audentity" is a double album released by Klaus in 1983. It's not a concept album as some think but a collection of pieces that aren't related. Some guests here on keyboards and cello while Michael Shrieve (SANTANA) adds some percussion.

"Cellistica" is a great way to start with those sounds that come and go. It's louder 2 minutes in. An electronic beat before 3 minutes and some cello too. Drums before 4 1/2 minutes. The beat continues as the music changes and evolves. Cello is back around 15 minutes. "Tango- Saty" features this catchy beat with horn-like sounds. I can't help but laugh. Sorry this just sounds bad to me. "Amourage" is much better. A melancholic tune overall that starts out with pings and pulses. Then sounds cry out 1 1/2 minutes in and come and go throughout. Spacey synths too. Piano joins in around 4 1/2 minutes. "Opheylissem" features lots of beats.

Side two starts with "Spielglocken" and again I feel the first track is the best one. Electronic beats build as spacey synths join in. A change after 5 1/2 minutes as the spacey sounds leave and drums join in. Spacey sounds are back around 7 1/2 minutes. A great sounding track. "Sebastian Im Traum" is an interesting track. I can't say I like it much but the way Klaus keeps bringing back certain sound on and off throughout this over 28 minute track is very cool. The cello, the door opening, the loud sound that seems to pass by all are repeated in this long track.

A good recording, but i'm hard on double albums and I don't think this deserves the fourth star. Many will disagree.

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Send comments to Mellotron Storm (BETA) | Report this review (#266659) | Review Permalink
Posted Tuesday, February 16, 2010

Review by Bonnek
SPECIAL COLLABORATOR Prog Metal Team
4 stars With Audentity Schulze incorporated avant-garde elements in his sound. I've always been only mildly enthused by this, but the current re-issue series offers real value for money. Nice packaging, good sound and always interesting bonus material from what must be immense vaults of unreleased Schulze gems!

Cellistica is interesting for the cello contributions from Wolfgang Tiepold. Schulze withdraws to a background of minimal sound effects and a 4/4 mid-paced dance beat. Every few minutes, the melodic main theme helps us to digest this extended piece. It is done very subtle and the result is adequate but never overwhelming.

Spielglocken is similarly minimalist and cold. I think the clinical 80's sound doesn't work well for Schulze, at least not in my ears. Either that or there was a lack of inspiration on Schulze's part. Usually he has that magic touch that breathes live into his machinery but I don't feel that here.

Sebastian Im Traum however is a beautiful piece. It starts with a very noisy and dissonant modernist part before it gives way to a charming sequence of synth vibes. The atmosphere is still chillingly cold and distant but somehow the beauty of the music shines through this.

The second CD of the 2005 reissue starts with the short Tango-Saty, a rather unusual piece for Schulze. It's like an avant-garde version of Kraftwerk's synth pop. Amourage is more typical Schulze, a laid-back ambient piece with slowly spinning melodies and gentle dots of piano. Romantic, sad and harmonious, one of the album's highlights. It is followed by another short avant-garde synth pop piece Ophelylissem. It's not really memorable again. I can't say I'm very impressed with the computer drum sounds used on this album.

At this point the original album's track list would be over. The reissue however adds another 58 minutes of music, split into 5 separate tracks. This bonus material sure equals the overall quality of this release. It has a Tangerine Dream kind of quality to it. The sequences and synth melodies on wouldn't be out of place on TD's Hyperborea album of the same year. It's a bit too long but it's a nice treat for fans.

Audentity is an unusual Schulze album that you should not skip as a fan. Together with the preceding Dig It and Trancefer, it's one of his best albums of the 80's. 3.5 stars

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Send comments to Bonnek (BETA) | Report this review (#287972) | Review Permalink
Posted Wednesday, June 23, 2010

Latest members reviews

2 stars With "Dune" I concluded that 80's work of Klaus Schulze might be worth listening to. So I picked up this "Audentity" which contains almost 100 minutes of synthesizer music on a double vinyl, containing three side long tracks and one side filled with three shorter tracks. Klaus Schulze still coll ... (read more)

Report this review (#938376) | Posted by the philosopher | Tuesday, April 02, 2013 | Review Permanlink

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