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KLAUS SCHULZE

Progressive Electronic • Germany


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Klaus Schulze picture
Klaus Schulze biography
(aka Richard Wahnfried) - Born August 4th 1947 (Berlin, Germany)

KLAUS SCHULZE, one of the most illustrious exponents of the kraut-electronic musical current, was born right in Berlin, the heart of the entire action. Before getting to know him as a master of electronic music, Schulze proved to be a skillful and talented young musician (with studies in modern composition at the Berlin University), hard to recognize (nowadays, perhaps) in the underground scene of the 60s. He first of all learned to play the guitar, starring afterwards in several bands as a bassist or a percussionist. His evolution in these ensembles can't be considered essential, still shows the consistency of moving up ahead: from the Düsseldorfian dance group Les Barones and cover-bands frenzied about Rolling Stones to the rock group Psy Free and, finally, to the moment when, from being invited by Edgar Froese to perform as a guest in his band, covering for the absence of the original drummer(I don't know if we're talking yet of Tangerine Dream, perhaps it actually concerns The Ones), he became a full, "registered" member of the group. TANGERINE DREAM's debut, though mainly a first solid album launched three years after the band (or the concept of it) started to form, is Electronic Meditation, the only one including Klaus Schulze. In a nebulous, experimental work, noisy and stoned, such as this one, the best thing we can notice is how Schulze adds flavor and intensity, through hallucinating percussion cliques, to a music that's anyway minimalistic, chaotic and instinctual.

Immediately after his singular appearence in Tangerine Dream (there's a mention about a similar guest appearence in AMON DÜÜL II, in a 1969 concert) - a specific moment turning out to be just as unique in TD's music - the next big step for Schulze is founding the band called ASH RA TEMPEL, together with two other young masters of that time, Manuel Göttsching and Hermut Enke. The boys bought equipment that was very similar to that used by Pink Floyd, a super-band for which the three had, apparently, a special affectio. The Ash Ra Tempel debut is however much more "drenched", being a stimulating example of kraut-rock, on the space, slow experimental, acid side. Many concerts follow afterwards. Schulze leaves though again after just one year, due to some disagreements about orienting towards ...
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SilhouettesSilhouettes
SPV 2018
$8.38
$13.48 (used)
Mirage (40th Anniversary Edition) + Bonustrack: RemasteredMirage (40th Anniversary Edition) + Bonustrack: Remastered
Extra tracks · Remastered
Made In Germany Musi 2017
$13.19
$17.59 (used)
Go /  Stomu YamashtaGo / Stomu Yamashta
Remastered
Esoteric 2018
$10.87
$15.43 (used)
CocooningCocooning
Made In Germany Music 2018
$14.25
$17.58 (used)
MoonlakeMoonlake
Spv Import 2005
$12.26
$8.98 (used)
ShadowlandsShadowlands
SPV 2019
$15.65
$29.86 (used)
The Dark Side Of The Moog Vol. 5-8The Dark Side Of The Moog Vol. 5-8
Made In Germany Musi 2016
$56.99
Next of Kin (Music From the Motion Picture Soundtrack)Next of Kin (Music From the Motion Picture Soundtrack)
Roundtable 2019
$35.14
$37.03 (used)
TranceferTrancefer
Revisited Records 2007
$32.50
$10.00 (used)
Right Now on Ebay (logo)
KLAUS SCHULZE - CYBORG 2 CD NEW+ USD $50.40 Buy It Now 9m 20s
Klaus Schulze "Timewind" cd USD $25.99 Buy It Now 30m 21s
KLAUS SCHULZE - Irrlicht - CD - **Mint Condition** USD $27.95 Buy It Now 1h 27m
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KLAUS SCHULZE - DUNE (REMASTERED 2017) VINYL LP NEW+ USD $24.30 Buy It Now 1h 57m
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KLAUS SCHULZE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

KLAUS SCHULZE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.51 | 159 ratings
Irrlicht
1972
3.67 | 143 ratings
Cyborg
1973
3.37 | 136 ratings
Blackdance
1974
3.73 | 116 ratings
Picture Music
1975
4.23 | 271 ratings
Timewind
1975
3.72 | 174 ratings
Moondawn
1976
3.97 | 118 ratings
Body Love (OST)
1977
4.29 | 281 ratings
Mirage
1977
3.98 | 112 ratings
Body Love - Vol. 2
1977
4.08 | 237 ratings
X
1978
3.21 | 92 ratings
Dune
1979
2.97 | 74 ratings
Dig It
1980
3.30 | 59 ratings
Trancefer
1981
3.45 | 79 ratings
Audentity
1983
2.80 | 47 ratings
Angst (OST)
1984
2.42 | 31 ratings
Klaus Schulze & Rainer Bloss: Drive Inn
1984
1.73 | 24 ratings
Klaus Schulze, Rainer Bloss ‎& Ernst Fuchs: Aphrica
1984
3.70 | 14 ratings
Transfer Station Blue
1984
2.85 | 44 ratings
Inter*Face
1985
2.68 | 42 ratings
Dreams
1986
2.94 | 34 ratings
Klaus Schulze & Andreas Grosser: Babel
1987
3.58 | 49 ratings
En=Trance
1988
2.49 | 40 ratings
Miditerranean Pads
1990
3.10 | 43 ratings
Beyond Recall
1991
2.33 | 29 ratings
Le Moulin De Daudet (OST)
1994
2.67 | 28 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog
1994
2.51 | 21 ratings
Goes Classic
1994
1.44 | 22 ratings
Totentag
1994
3.00 | 23 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog II
1995
2.98 | 24 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog III
1995
3.83 | 54 ratings
In Blue
1995
2.69 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog IV
1996
3.16 | 36 ratings
Are You Sequenced?
1996
3.11 | 24 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog V
1996
3.48 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VI
1997
2.72 | 27 ratings
Dosburg Online
1997
3.63 | 25 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VII
1998
2.38 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VIII
1999
3.10 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog IX
2002
3.05 | 21 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog X
2005
3.50 | 52 ratings
Moonlake
2005
3.75 | 16 ratings
Vanity Of Sounds
2005
3.86 | 14 ratings
The Crime Of Suspense
2006
3.58 | 26 ratings
Ballett 1
2006
3.56 | 18 ratings
Ballett 2
2006
3.70 | 20 ratings
Ballett 3
2007
3.35 | 17 ratings
Ballett 4
2007
3.74 | 78 ratings
Kontinuum
2007
3.44 | 54 ratings
Klaus Schulze & Lisa Gerrard: Farscape
2008
3.63 | 22 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog XI
2008
3.76 | 19 ratings
Virtual Outback
2008
3.60 | 40 ratings
Shadowlands
2013
3.50 | 10 ratings
Another Green Mile
2016
3.60 | 15 ratings
Klaus Schulze & Solar Moon System: Ultimate Docking
2017
3.63 | 19 ratings
Androgyn
2017
3.10 | 15 ratings
Silhouettes
2018
3.67 | 3 ratings
Cocooning
2018
3.13 | 4 ratings
Timbres Of Ice
2019

KLAUS SCHULZE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.17 | 45 ratings
Live
1980
3.33 | 43 ratings
Dziekuje Poland (with Rainer Bloss)
1983
3.61 | 28 ratings
The Dresden Performance
1990
3.81 | 23 ratings
Royal Festival Hall Vol. 1
1992
3.85 | 27 ratings
Royal Festival Hall Vol. 2
1992
3.48 | 25 ratings
The Dome Event
1993
3.28 | 20 ratings
Das Wagner Desaster-Live-
1994
3.93 | 14 ratings
Live @ KlangArt 1
2001
3.77 | 13 ratings
Live @ KlangArt 2
2001
3.40 | 25 ratings
Rheingold - Live at the Loreley
2008
4.00 | 13 ratings
Live @ KlangArt
2008
3.40 | 21 ratings
Dziekuje Bardzo - Vielen Dank
2009
3.25 | 25 ratings
Big in Japan
2010
4.17 | 6 ratings
Big In Europe Vol. 1 Warsaw
2013
3.80 | 5 ratings
Stars Are Burning
2014
4.20 | 5 ratings
Big In Europe Vol. 2 - Amsterdam
2014

KLAUS SCHULZE Videos (DVD, Blu-ray, VHS etc)

4.00 | 14 ratings
Rheingold - Live At The Loreley
2008
3.63 | 8 ratings
Dziekuje Bardzo
2009
4.00 | 8 ratings
Big in Japan
2010

KLAUS SCHULZE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Discover Cosmic - The Klaus Schulze Sessions
1977
3.00 | 1 ratings
Rock On Brain
1979
4.00 | 2 ratings
Mindphaser
1981
3.00 | 1 ratings
Star Action
1983
4.00 | 2 ratings
History
1988
3.00 | 6 ratings
2001
1991
3.71 | 7 ratings
Silver Edition
1993
3.30 | 8 ratings
The Essential: 72-93
1994
4.00 | 14 ratings
Historic Edition
1995
3.86 | 7 ratings
Jubilee Edition
1997
2.60 | 5 ratings
Trailer
1999
3.88 | 8 ratings
The Ultimate Edition
2000
3.56 | 9 ratings
Contemporary Works I
2000
3.50 | 10 ratings
Contemporary Works II
2002
4.00 | 3 ratings
The Evolution of the Dark Side of the Moog
2002
3.00 | 1 ratings
Best of Klaus Schulze
2009
3.43 | 16 ratings
La Vie Electronique 1
2009
3.94 | 15 ratings
La Vie Electronique 2
2009
2.85 | 17 ratings
La Vie Electronique 3
2009
3.10 | 16 ratings
La Vie Electronique 4
2009
3.22 | 13 ratings
La Vie Electronique 5
2010
4.00 | 15 ratings
La Vie Electronique 6
2010
2.39 | 12 ratings
La Vie Electronique 7
2010
3.35 | 11 ratings
La Vie Electronique 8
2010
3.33 | 9 ratings
La Vie Electronique 9
2011
3.33 | 9 ratings
La Vie Electronique 10
2011
3.30 | 10 ratings
La Vie Electronique 11
2012
4.00 | 12 ratings
La Vie Electronique 12
2012
4.03 | 11 ratings
The Schulze-Schickert Session
2013
4.50 | 4 ratings
La Vie Electronique 13
2013
4.00 | 4 ratings
La Vie Electronique 14
2014
4.83 | 6 ratings
La Vie Electronique 15
2014
5.00 | 3 ratings
La Vie Electronique 16
2015
4.50 | 4 ratings
The Dark Side Of The Moog Vol. 1-4
2016
4.20 | 5 ratings
The Dark Side Of The Moog Vol. 5-8
2016
4.40 | 5 ratings
The Dark Side Of The Moog Vol. 9-11
2016
4.00 | 9 ratings
Privée (with U.S.O.)
2016
3.80 | 5 ratings
Ballett 1 & 2
2017
4.00 | 5 ratings
Ballett 3 & 4
2017
4.25 | 4 ratings
Eternal
2017
3.50 | 2 ratings
La Vie Electronique Volume 1.0
2018
0.00 | 0 ratings
La Vie Electronique Volume 1.1
2018
0.00 | 0 ratings
La Vie Electronique Volume 1.2
2018

KLAUS SCHULZE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 1 ratings
Macksy
1985
2.50 | 2 ratings
Conquest of Paradise
1994
4.00 | 1 ratings
Voices in the Dark
1996
5.00 | 1 ratings
Essential Extracts
2000
4.00 | 3 ratings
Andromeda
2003
4.00 | 3 ratings
Ion
2004
2.70 | 10 ratings
Come Quietly - with Lisa Gerrard
2009
3.00 | 3 ratings
Hommage À Polska
2009

KLAUS SCHULZE Reviews


Showing last 10 reviews only
 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.73 | 116 ratings

BUY
Picture Music
Klaus Schulze Progressive Electronic

Review by Dobermensch
Prog Reviewer

2 stars A disappointing album from old Klaus. I much prefer his previous 3 albums. This one's more non-desrcript and directionless. It sounds nice enough with lots of great pulsing Analogue keyboards, but it's music by rote - a mechanical repetition of ideas.

'Picture Music' - is a much smoother and refined album than his earlier recordings and actually suffers because of this approach. No matter how many times I hear it, it's almost forgettable at its conclusion. It just sounds lazy and un-inspired, particularly if you listen to the following masterpiece (Time Wind (1975).

'Blackdance(1974)' had a dark ominous feeling while being more acoustic. 'Cyborg(1972)' dealt with deep swathes of electronic eeriness and 'Irrlicht (1971)' had a 19th Century Classical uniqueness all of its own.

'Picture Music' is a dull grey slab wedged in between these great albums.

Poor.

 Body Love (OST) by SCHULZE, KLAUS album cover Studio Album, 1977
3.97 | 118 ratings

BUY
Body Love (OST)
Klaus Schulze Progressive Electronic

Review by patrickq

4 stars Timewind (1975) was a low point in Klaus Schulze's first ten albums, and Moondawn, released the following year, was somewhat of an improvement. With Body Love, Schulze again builds on his prior work, turning in a very good album which bridges the TimewindMoondawn period with his golden-age triptych of Mirage, Body Love 2, and X.

Body Love is somewhat familiar in form, with the original LP comprised of two 10+ minute songs on one side and a one song 25-minute on the other. Side One is divided between "Stardancer," a rhythmic track including a drumkit played by Harald Großkopf, and the more pensive, rhythmless "Blanche." Side Two is given to "P.T.O.," which is similar in sound and tempo to "Stardancer." The twenty-two minute bonus track on recent CD issues, "Lasse Braun," fits stylistically with the rest of the album, although it's played in a noticeably lower register than the canonical tracks. It also has a lower tempo than "Stardancer" and "P.T.O." Großkopf plays on "P.T.O.," but the drumkit is low in the mix, and is only audible for a few of the track's twenty-seven minutes. This is followed by "Lasse Braun," on which Großkopf is absent. So the drumkit is heard only rarely in the last hour of Body Love.

(There isn't a drumkit on Schulze's first three albums, although Schulze is credited with playing "percussion." On his fourth LP, Picture Music (1975), Schulze plays the drumkit, and with that album he had nearly perfected his synthesizer-and-drumkit formula. After the drummer-less Blackdance (1975), Moondawn (1976) became the first to feature only Schulze (synthesizers, etc.) and Großkopf (drums). Body Love is the second, and the recipe works even better than it had on Moondawn. Body Love 2 (1977) was the final Schulze-Großkopf album, although Großkopf is heavily featured on X (1978) and also appeared on Live? (1980). In the 1980s, Schulze's go-to percussionist/drummer was Michael Shrieve.)

It's useful when evaluating a musical work to evaluate the composition, performance, and production (or sound) separately - - even though they overlap. It's especially difficult to segregate these three elements on a Schulze album. This makes it complicated to explain why I don't consider Body Love to be as good as, say, Body Love 2. While Body Love is very good, it isn't quite as engaging as any of his next three albums.

Nonetheless, I'd recommend Body Love to anyone interested in Schulze's 1970s work or to anyone interested in the "Berlin School" of progressive-electronic music. Four Stars.

 Body Love - Vol. 2 by SCHULZE, KLAUS album cover Studio Album, 1977
3.98 | 112 ratings

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Body Love - Vol. 2
Klaus Schulze Progressive Electronic

Review by patrickq

5 stars Body Love 2, we are told, is not a continuation of Body Love. Body Love, released on Brain/Metronome in February 1977, was recorded as the soundtrack to a porn movie of the same name. Body Love 2, released by Island in December of that same year, had no connection to the movie, although it included either a remix or re-recording of one track from Body Love. For what it's worth, Schulze released his near-masterpiece Mirage between the two Body Love albums.

All of that said, Body Love 2 isn't very different from Body Love. They were mostly recorded in the same studios, performed by Schulze and drummer Harald Großkopf. The structure of the two albums is similar: two tracks in the twelve- to fourteen-minute range and a third approaching a half-hour - - plus a 22-minute (or so) bonus track. The first side of Body Love 2 is occupied by the tour-de-force "Nowhere - Now Here," while the flip side is comprised by "Stardancer II" and "Moogetique." "Buddy Laugh (A Rock'n'Roll Bolero)," included in recent CD releases as a bonus track, was recorded at the same time as the other pieces.

"Moogetique" might be the brooding brother of "Blanche" from the first Body Love. But whereas "Blanche" had some hopeful chords, over which Schulze played his typical synth noodling, the similarly rhythmless "Moogetique" gains its motion from more frequent chord changes; the whole piece is background, so to speak, without a lead part. And whereas it'd be reasonable to expect "Buddy Laugh" to resemble Body Love's bonus track "Lasse Braun," there are relatively few similarities. Both are rhythmic tracks, but Großkopf provides the rhythm for "Buddy Laugh," while "Lasse Braun" derives its rhythm from a sequencer. "Buddy Laugh" is also played at a noticeably higher tempo.

"Nowhere - Now Here" is the main attraction here. It's among Schulze's finest pieces, ranking just below "Totem" (Picture Music, 1973), "Ludwig von Bayern" (X, 1979), and the Cyborg bonus track "But Beautiful," which was recorded during the same period as Body Love 2. "Nowhere" builds from an atmospheric backing over which Schulze plays a slow lead. By the five-minute mark, a sequencer rhythm asserts itself, and at six minutes Großkopf enters with a very basic beat. A second lead accompanies the first and by 8:00 the form of the piece is established, the main variation being occasional chord changes. A few spacey sound effects are thrown in here and there. Then, right before 14:00, the instrumentation and tempo change. The sound effects become more prevalent - - or at least louder. Over the next few minutes, the instrumentation returns to its former state, although the new rhythm persists. At about 17:40, a new sequence is added: one that should be familiar to Schulze listeners as similar to one on "Bayreuth Return" (Timewind, 1975) and on "Crystal Lake" from Mirage. This morphs, becoming softer and fading away as Großkopf becomes more demonstrative. There's a part around 22:30 that sounds like the eventual end of the song, but over the next minute, Großkopf comes to the fore with a double-bass-drum pattern; by this time, he has completely replaced the sequencers as the source of the rhythm. Soon Schulze returns with one of his trademark leads as Großkopf increases the tension with a series of snare rolls over the insistent bass-drum pattern. This gives way to louder synth pads. The lead part continues unabated as sequencer patterns re-assert themselves over the final two minutes. The sound effects also return, as does the snare, as the tension continues - - and with a slight increase in volume, the track ends abruptly.

With Mirage and X, Body Love 2 is part of Schulze's best three-album sequence. I'd recommend it to any fan of ambient or electronic-progressive music, and to anyone new to Schulze. Given the expansiveness of his catalog, and the diversity of his styles over the past fifty years, Body Love 2 is as good as any place to start investigating his music.

 Timbres Of Ice by SCHULZE, KLAUS album cover Studio Album, 2019
3.13 | 4 ratings

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Timbres Of Ice
Klaus Schulze Progressive Electronic

Review by admireArt
Prog Reviewer

3 stars Even though this is a re-release of a limited series of published works which a privileged few only knew, it is new for the rest of us "unprivileged" most.

There is a rare quality this material possesses, like a refined experimentation, which somehow was meant to be private thus free of useless stardom and glitter.

By experimentation I mean a quiet relaxed music composition approach which simplifies Mr. Schulze´s styling to its core elements enhancing his well known language to its purest form as it allows an equally balanced participation of 6 guest musicians and vocalists who offer an impeccable and perfectly measured addition, mostly on the first track, of non-electronic flavors including Arabian flute, violin, oboe, English horn, cello and guitars plus of course the vocals which appear all way through.

A three track release spanning an hour 15 minutes , including a 41 minutes composition which somehow runs far too long for what it actually delivers and maybe could have been cut short for better results but as such it offers few surprises for such a running time . Besides this more or less "minor" flaw everything else is quiet well threaded.

As far as the rating goes the problem starts.

It will be hard to give this album constant listenings considering its main track starts to get monotonous around its half time, yet it will be undeserving to miss this track´s first half which is quiet enticing. Therefore to rate it fairly I can not disregard this waste of 20 minutes which music wise are an eternity as I can not disregard that the rest of the album is very enjoyable.

3.5 PA´s stars.

 Moondawn by SCHULZE, KLAUS album cover Studio Album, 1976
3.72 | 174 ratings

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Moondawn
Klaus Schulze Progressive Electronic

Review by patrickq

3 stars After taking a bit of a detour on the relatively unfocused Timewind, Schulze returned six months later with Moondawn, a more coherent album which resumed the trajectory he had established with Blackdance (1974) and Picture Music (1975).

Like Timewind, Moondawn is composed of two pieces in excess of 25 minutes each. "Floating" is an atmospheric synthesizer track that is rhythmless until a sequencer gradually phases in around seven minutes into the piece. This is joined a few minutes later by a drum-kit pattern played by Harald Großkopf. The relative volumes of the sequence, the drum kit, the synthesizer pads, and the synth leads, seem to vary in some sinusoidal pattern until the rhythmic parts seem to gain the higher ground in the last few minutes.

"Mindphaser" is not terribly different, beginning with a soft synthesizer lead over pads and some sound effects. What seems to be a very light sequence, but may in fact be a synthesizer patch, appears several minutes in, but until the track is essentially rhythmless. Grainy chords, almost choral, begin to assert themselves about ten minutes into the song, and the chord changes begin to occur rapidly enough to suggest a rhythm. Despite this warning, the appearance of the drum-kit at 11:54 is abrupt. The remainder of "Mindphaser" is almost a funhouse-mirror rendition of the first half - - it's a much more energetic, yet twisted, interpretation of the same material.

In light of Moondawn, Timewind seems to have been an unsuccessful "studio-as-instrument" experiment in which Schulze may have tried to manipulate too many variables simultaneously. Moondawn seems to be the more logical successor to the Irrlicht - - Cyborg - - Blackdance course which would culminate in 1978 with X, Schulze's masterpiece.

 Mirage by SCHULZE, KLAUS album cover Studio Album, 1977
4.29 | 281 ratings

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Mirage
Klaus Schulze Progressive Electronic

Review by patrickq

5 stars Mirage is comprised of two similar and complimentary tracks, "Velvet Voyage" and "Crystal Lake."

The first twelve minutes of "Velvet Voyage is a series of synthesizer-pad chords whose durations generally decrease and whose tones grow more complex. A lonely lead synth plays an occasional note as the dissonance slowly increases. A sequencer fades in during the thirteenth minute, partially obscuring the chords and white noise. Eventually a lead synth moves toward the surface as the presence of the now-established sequence can be maintained even though it has moved back in the mix. Twenty minutes in, the lead synth has become more insistent, its notes having become shorter. This state continues for several minutes as the sequence gradually regains its place in the mix, then fades as the end of the track approaches. Soon the listener is left with synth pads and noise, which degrade over the last half-minute. It's only in the last two minutes of "Velvet Voyage" that the changes happen quickly enough to be obvious.

"Crystal Lake" begins with a sequencer pattern similar to the one in "Velvet Voyage." In fact, I get the sense that "Crystal Lake" is like experiencing the same phenomenon as "Velvet Voyage," but from an entirely different vantage. At 4:37, the sequence shifts to a higher key. This happens again at 5:10 and 5:28. Most of this time Schulze is improvising on a lead synth which follows the key changes. At 5:57 the sequencer returns to a prior state, where it stays until it fades slowly during the song's thirteenth minute. Around ten minutes later, it fades back in and eventually disappears into the cacophony of the song's last half-minute. The middle section of "Crystal Lake" is a darkly ethereal "dry ice" movement that suggests shapes moving under the moonlit ice of the titular body of water.

The bonus track on the recent remasters, "Cosa Crede Chi Non Crede?" is a variation of part of "Velvet Voyage." It extends the album by almost twenty minutes, further strengthening the sense of cohesiveness across the album

Mirage is the most elemental of Schulze's three 1977 releases. Despite its relative lack of variation - - the same essential ideas are restated, revised, and recapitulated on the same instruments for fifty-eight minutes, not counting the bonus track - - it is also the strongest of the three. It creates and sustains an ostensible serenity that's vaguely unsettling. It wasn't a surprise to find out that Schulze created this work as his brother was dying. It is not a feel-good album, but it certainly isn't nightmarish. In a sense, it seems to represent a stark acceptance of death.

It also wasn't surprising to discover that Schulze subtitled the album An Electronic Winter Landscape. It's a cold album, both emotionally and sonically.

But it's a great album. With Picture Music and X, Mirage is one of Schulze's best. There are no weak passages on Mirage. Each section seems well-placed, each transition sensible. In addition to the high quality of the composition, the sound is also superb. In short: a highly recommended album, and a masterpiece of progressive-electronic music.

 X by SCHULZE, KLAUS album cover Studio Album, 1978
4.08 | 237 ratings

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X
Klaus Schulze Progressive Electronic

Review by patrickq

5 stars X was Klaus Schulze's his tenth album, and second double LP. There are a number versions on CD; the first one I bought had only a 5:25 excerpt of "George Trakl." The standard, as far as I'm aware, is the Revisited Records "deluxe edition," released in 2005 as REV 005 and rereleased on the MIG label in 2016. It contains not only the full version of "Trakl," but a bonus track as well. This is the edition I'm reviewing here.

And I'll start this review by stating my opinion that X represents the absolute pinnacle of Schulze's music.

As I'll discuss in a bit, X varies substantially from Schulze's prior albums. But there's more variety within X than on most of Schulze's prior albums - - and only partly because it's a double album. More significant is the wider array of synthesizers used by Schulze and the inclusion of more guest performers than usual. After using prerecorded strings on his first two albums, Schulze only employed a drummer (Harald Großkopf) to accompany him on most of his next seven. On X, Großkopf plays on five of the six tracks, and fully half of the album features live strings, including an orchestral ensemble on "Ludwig II. von Bayern."

The second and third tracks, "Georg Trakl" and "Frank Herbert," are the only two that are somewhat similar to each other - - they have similar tempos, and these are the two pieces that rely the most on parts played by sequencers. "Friedrich Nietzsche," the opening track, also contains a fair amount of sequencing, but it's more integrated with the drumming as part of a rhythm section.

Had X consisted only of these three synthesizer-based tracks, it would be a very good, one-disk album that would have followed logically from its predecessor, Body Love Vol. 2 (1977). What makes X a great album, though, are the final three pieces.

"Friedemann Bach" features tom-toms (played by Schulze himself) and what I believe is multitracked violins (played by B. Dragic). "Bach" is at times mysterious, and at other times sinister. The closing track, "Heinrich von Kleist," is also the dénouement of the album's arc. Its opening chimes are echo those of "Ludwig," but it immediately descends into an enigmatic chords, resembling the aura of "Bach." But it's soon clear that "von Kleist" won't become either of these pieces. It feels considerably slower than most of the rest of the album; Großkopf doesn't appear until 23 minutes into this 29-minute track. Especially in its second half, "von Kleist" makes use, sometimes heavily, of the Mellotron, and a Cello is also featured.

Had X consisted only of the pieces I've already discussed - - tracks 1, 2, 3, 4, and 6, it would be a five-star album. And yet that doesn't include the highlight of the album, "Ludwig II. von Bayern." A somewhat bizarre blend of synthesizers (including a Mellotron choir), drumkit, and string-section phrases stolen from Vivaldi (apparently Op. 3/11 RV 565), "Ludwig" is a phenomenon which I lack the vocabulary to adequately describe.

At least in song-based pop and rock music, most double album would be improved by being edited down into one-disk albums. That's not the case with X, on which Schulze takes whatever time he needs to develop each piece - - the tracks range in length from about 10 to 30 minutes, with an average duration of 23 minutes. These exceptionally long runtimes are necessary for different reasons depending on the track. As is typical for Schulze's music, much of X is based on nuanced repetition or drones. And in general, the pieces on this album require substantial time to evolve.

X was Schulze's tenth of thirteen albums released over an eight-year period on Brain, a subsidiary of Polygram (his first album was originally released on Ohr, but that seems to be another story). It was apparently successful from a commercial standpoint - - certainly, in 1978, Schulze was in the midst of a very successful period as a recording and touring artist. X probably wasn't a big risk, but it did represent a break with his recent works. For some reason - - maybe he realized that his 1976 and 1977 albums were beginning to sound more and more alike - - he created an album which made significant use of live strings and the Mellotron. And he made the change all the more stark by putting the novel pieces all together as (roughly) the second half of the album.

Interestingly, Schulze's experimentation accelerated after X: one side of Dune (1979) included cello, while the other, shockingly, contained solo vocals. And with Dig It (1980) he began an entirely new phase, switching to digital synthesis. So the brilliance of X was confined to one album.

No album is perfect, but X is a masterpiece. However successful it was commercially, it was phenomenally successful as art.

 Timewind by SCHULZE, KLAUS album cover Studio Album, 1975
4.23 | 271 ratings

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Timewind
Klaus Schulze Progressive Electronic

Review by patrickq

3 stars Timewind is a good album, but it's probably the weakest of Schulze's 1970s records. It contains most of Schulze's hallmarks of the era, although there's no drum kit on this one. Timewind is said to include Schulze's first use of a sequencer, and while this might be true in a technical sense, some of his earlier works had used repetitive synthesizer patterns. Interestingly, Schulze would later use one sequence in the middle of "Bayreuth Return" on "Crystal Lake," the b-side of Mirage. The sequence is prominent in the eleventh minute of "Bayreuth," but also appears elsewhere.

The sequencer on "Bayreuth" plays a role similar to that of the guitar on "Way of Chances" from Blackdance: a rhythmic backing pattern which adds to the drone-like atmosphere of the track. It makes sense, then, that Schulze would not play additional instruments (i.e., non-keyboard instruments) on Timewind, as he had on his prior albums, and would not engage outside musicians. That he employed drummer Harald Großkopf for four of his next five albums is probably indicative of his interest in rhythm as a component of his music during this period.

Nonetheless, "Wahnfried 1883," the second side of Timewind, is one of Schulze's evolving, generally rhythmless tracks; if "Wahnfried" uses a sequencer, it's very hard to detect. My issue here is with the pace of the evolution. Unlike, say, the hypnotic "Crystal Lake," which changes slowly, "Wahnfried" seems to introduce one or two variations each minute. Like "Bayreuth," it comes across as overly busy to me.

While Timewind doesn't quite meet the expectations Schulze established with Blackdance and Picture Music, I wouldn't classify it as "for fans only." In fact, if it were Schulze's only album, I'd probably assign it four stars. But the other nine of his first ten albums are better.

 Blackdance by SCHULZE, KLAUS album cover Studio Album, 1974
3.37 | 136 ratings

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Blackdance
Klaus Schulze Progressive Electronic

Review by patrickq

4 stars It is frequently pointed out that Blackdance was Schulze's "first synthesizer album," and this is true. But it is still very clearly a follow-up to Cyborg (1973).

The biggest break from Irrlicht and Cyborg isn't the synthesizer, it's the singing on the twenty-two minute, album-closing "Voices of Syn." This is the first instance, as far as I know, of Schulze's use of human voice on one of his albums; Ernst Walter Siemon (of whom I know nothing), provides operatic vocals on its first six minutes. Interestingly, "Voices of Syn" ends rather suddenly, especially given its long runtime. On the newer releases of Blackdance, this works out well, as the opening of "Foreplay," the first bonus track, begins abruptly. "Foreplay" and the other bonus track, "Synthies Have (No) Balls?" are believed to have been recorded in 1975, putting them closer temporally to the rest of the album than was the case on the rereleases of Schulze's first two albums.

"Synthies Have (No) Balls?" is a synthesizer-and-drumkit workout which seems to prefigure a fair amount of Schulze's mid-1970s output, especially Moondawn and Body Love. It's also reminiscent of Blackdance's opening track, "Ways of Changes," although "Ways" is much more nuanced. It seems obvious why "Synthies" was not originally included on an album: it's a good track, but not as good to those pieces it most resembles.

Like Schulze's debut, Irrlicht (1972), Blackdance is comprised of three tracks, with the shortest placed between the other two. That track, the rhythmless "Some Velvet Phasing" would have fit nicely on Cyborg. "Some Velvet" is a series of organ (and possibly synthesizer) tone and chords, and is thus might seem atmospheric or ambient, or maybe even meditative, but these change just a bit faster than I'd expect - - they demand slightly too much attention for the piece to work as ambient music; plus, by Schulze standards, 8:28 is pretty short for a meditative piece.

Blackdance is a clear improvement over Cyborg, as Cyborg was a clear improvement over Irrlicht. And yet, like Irrlicht, Blackdance is still a four-star album, Schulze not quite reaching the brilliance he will attain on Picture Music, which is to me his first real synthesizer album.

 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.67 | 143 ratings

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Cyborg
Klaus Schulze Progressive Electronic

Review by patrickq

4 stars Note: Ignore this review if you're thinking of buying any CD version of Cyborg without the bonus track "But Beautiful."

If you're going to compare Cyborg to any other Schulze LP, Irrlicht would be the obvious choice. These are Schulze's two pre-synthesizer albums, and both use similar instrumentation. There are two major differences, in my opinion, the first being the quality of the bonus tracks. Ordinarily I wouldn't consider bonus material in a review, but since 2006, all issues of both albums contain the same bonus tracks: "Dungeon" on Irrlicht and "But Beautiful" on Cyborg. "Dungeon" is a piece which fits well with the original three tracks, despite being recorded four years later. However, "But Beautiful" is one of the best two pieces of Schulze's career. I have to assume that its length (50+ minutes) kept it off any vinyl album; in any event, it too was recorded four years after the original album. At any rate, following the original tracks of Cyborg with "But Beautiful" somehow, magically completes the album.

The second improvement of Cyborg over Irrlicht is in composition. Whereas Cyborg maintains some of its predecessor's experimentation, its individual tracks just make better use of sound as art. Or, to put it in different, but equally obscure terms, Cyborg is of a higher compositional quality. When it comes to electronic music like Schulze's, "more musical" doesn't always mean "better." But it does in the case of comparing Cyborg and Irrlicht.

Cyborg is not quite at the level of Mirage, X, or Picture Music, but it's still a very good album.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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