BEYOND RECALL

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The ever prolific Klaus Schulze has always been keen to embrace new technology, and as the 80s turned into the 90s samplers and associated devices started becoming more prevalent in his work. This offering from 1991 sees Schulze embracing digital technology and using it to add new dimensions to his work. This album was sufficiently cutting edge to make it onto the playlist in chill out rooms at early 90s raves, and the Future Sound Of London even included a sample on their excellent Life Forms album.

For all the new technology, this is pretty much business as usual for Schulze - there are no acid house rhythms or trance-ambient-dub remixes here. The opening track is 26 minutes of what sounds like samples of ethnic flutes and tropical wildlife woven into the kind of electronic tapestry that has been a mainstay of the synth maestro's output since the 70s. This piece sets the tone for the whole album, and therein lies the one problem with a lot of Schulze CDs - while the sound is great, it is possible to have too much of a good thing. There's a fair amount of repetition - or perhaps minor variations on theme is a better way of putting it - and after a certain point all the tracks seem to blend into one.

This is a fascinating and diverting album for fans of the electronic prog genre, but ultimately it would have benfitted from some judicious editing. Worth checking out, but not essential.

This is music! It's not a usual German technical sound experiments/sound design/sound effects. No way, it's music!

I can compare this album with "Snow Goose "by Camel Yes, no mistake!

Absolutely beautiful, perfect melodies, nice concept , may be a bit ... e,e,e ... not enough experimental!

But , as in case with "Snow Goose ", you just like beautiful prog - take it.

OK, let be more serious: this album's music is cold electronic sound, nothing in common with Camel music in that sense. But if you're trying to listen electronic prog, you know, what are you going to hear, I hope!

So, even more there: the music of this album , near it's beauty, has inside some WARM moments ( just don't forget, warm nuances in cold electronic prog).

So, if you know now, what you want - just do it!

I have never been a huge adept of sampling. And even if I could highly appreciate "En=Trance" which was in some way the start of this new era, I am not brought to some sort of third dimension with this album.

This very long album opens on an epic which lasts for about half an hour ("Gringo Nero"). You know that I was quite addicted to his great works from the seventies, but here: I have to say that he doesn't play in the same division.

The music is far from being as creative, on the forefront of electronic prog as it ought to be some twenty years prior to this album. Some might have a peculiar feel for this album, but I am desperately looking for a good and innovative sign. Great melodic lines are alien to this song which displays some synthesized guitar and "drums" which sound quite awkward as far as I'm concerned. At no moment, was I embarked on the dark side of the moog. But this is another story which will be reviewed later on?

I am quite addicted with Klaus's work, but when he is offering such an album, I am much less laudatory. In fact, this long "Gringo Nero" stuff is quite boring with very little (to none) passionate moments.

"Trancers" holds some more emotions, but still: nothing to be compared to the great, great past. I understand that an artist can't remain at such a level of creativity than Klaus during the seventies; but an artist also needs to understand that his fan database can't be passionate with each of his output. And this is my case while listening to "Beyond Recall".

Of course, this is not a bad album; but "Brave Old Sequence" says it all?The last half an hour of this album which is represented by two tracks, is not of great interest to my ears either (and I 'm quite a fan of the man).

Five out of ten is as much as it gets from me this time. Can't upgrade it to three stars. Sorry Klaus.