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KLAUS SCHULZE

Progressive Electronic • Germany


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Klaus Schulze picture
Klaus Schulze biography
KLAUS SCHULZE, one of the most illustrious exponents of the kraut-electronic musical current, was born on the 4th of August 1947, 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 blues, a style in whose popularity Schulze couldn't recognize himself. Although Ash Ra Tempel don't visibly slip towards that style which was desire...
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AndrogynAndrogyn
Import
Made In Germany Musi 2017
Audio CD$12.48
$13.57 (used)
GoGo
Import · Remastered
Esoteric 2008
Audio CD$9.27
$10.67 (used)
TimewindTimewind
Import
Made in Germany Musi 2016
Audio CD$12.32
$15.77 (used)
La Vie Electronique Vol.5La Vie Electronique Vol.5
Box set
MADE IN GERMANY MUSI 2012
Audio CD$12.60
$14.58 (used)
The Dark Side Of The Moog Vol. 9-11The Dark Side Of The Moog Vol. 9-11
Import
Made In Germany Musi 2016
Audio CD$23.99
$20.91 (used)
The Dark Side Of The Moog Vol. 1-4The Dark Side Of The Moog Vol. 1-4
Made In Germany Musi 2016
Audio CD$22.29
$22.99 (used)
The Dark Side Of The Moog Vol. 5-8The Dark Side Of The Moog Vol. 5-8
Import
Made In Germany Musi 2016
Audio CD$21.80
$42.39 (used)
Another Green MileAnother Green Mile
Import
Imports 2016
Audio CD$12.96
$14.98 (used)
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KLAUS SCHULZE / Wahnfried : Trance Appeal : 2007 SPV CD (Tangerine Dream) USD $7.81 [2 bids]
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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)

3.49 | 139 ratings
Irrlicht
1972
3.66 | 125 ratings
Cyborg
1973
3.33 | 114 ratings
Blackdance
1974
3.76 | 96 ratings
Picture Music
1975
4.21 | 233 ratings
Timewind
1975
3.71 | 154 ratings
Moondawn
1976
3.96 | 101 ratings
Body Love (OST)
1977
4.26 | 239 ratings
Mirage
1977
3.93 | 96 ratings
Body Love - Vol. 2
1977
4.11 | 210 ratings
X
1978
3.23 | 77 ratings
Dune
1979
2.93 | 64 ratings
Dig It
1980
3.20 | 48 ratings
Trancefer
1981
3.41 | 67 ratings
Audentity
1983
2.75 | 36 ratings
Angst (OST)
1984
2.24 | 23 ratings
Klaus Schulze & Rainer Bloss: Drive Inn
1984
1.66 | 16 ratings
Klaus Schulze, Rainer Bloss ‎& Ernst Fuchs: Aphrica
1984
2.81 | 34 ratings
Inter*Face
1985
2.59 | 33 ratings
Dreams
1986
2.92 | 26 ratings
Klaus Schulze & Andreas Grosser: Babel
1987
3.58 | 39 ratings
En=Trance
1988
2.35 | 31 ratings
Miditerranean Pads
1990
3.03 | 31 ratings
Beyond Recall
1991
2.22 | 22 ratings
Le Moulin De Daudet (OST)
1994
2.59 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog
1994
2.43 | 16 ratings
Goes Classic
1994
1.28 | 17 ratings
Totentag
1994
2.91 | 18 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog II
1995
2.89 | 19 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog III
1995
3.80 | 45 ratings
In Blue
1995
2.57 | 15 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog IV
1996
3.15 | 31 ratings
Are You Sequenced?
1996
3.03 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog V
1996
3.46 | 16 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VI
1997
2.60 | 21 ratings
Dosburg Online
1997
3.61 | 19 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VII
1998
2.26 | 16 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog VIII
1999
3.02 | 16 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog IX
2002
2.93 | 16 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog X
2005
3.46 | 42 ratings
Moonlake
2005
3.60 | 10 ratings
Vanity Of Sounds
2005
3.44 | 9 ratings
The Crime Of Suspense
2006
3.18 | 17 ratings
Ballett 1
2006
3.18 | 11 ratings
Ballett 2
2006
3.33 | 12 ratings
Ballett 3
2007
2.83 | 12 ratings
Ballett 4
2007
3.72 | 68 ratings
Kontinuum
2007
3.25 | 38 ratings
Klaus Schulze & Lisa Gerrard: Farscape
2008
3.61 | 17 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog XI
2008
3.73 | 11 ratings
Virtual Outback
2008
3.52 | 32 ratings
Shadowlands
2013

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

3.11 | 36 ratings
Live
1980
3.20 | 35 ratings
Dziekuje Poland (with Rainer Bloss)
1983
3.43 | 21 ratings
The Dresden Performance
1990
3.69 | 17 ratings
Royal Festival Hall Vol. 1
1992
3.78 | 21 ratings
Royal Festival Hall Vol. 2
1992
3.29 | 19 ratings
The Dome Event
1993
3.13 | 14 ratings
Das Wagner Desaster-Live-
1994
3.80 | 10 ratings
Live @ KlangArt 1
2001
3.56 | 9 ratings
Live @ KlangArt 2
2001
3.21 | 19 ratings
Rheingold - Live at the Loreley
2008
3.75 | 8 ratings
Live @ KlangArt
2008
3.21 | 15 ratings
Dziekuje Bardzo - Vielen Dank
2009
3.11 | 17 ratings
Big in Japan
2010

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

3.93 | 11 ratings
Rheingold - Live At The Loreley
2008
3.43 | 7 ratings
Dziekuje Bardzo
2009
3.80 | 5 ratings
Big in Japan
2010

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

2.80 | 5 ratings
2001
1991
3.60 | 5 ratings
Silver Edition
1993
3.24 | 6 ratings
The Essential: 72-93
1994
3.92 | 12 ratings
Historic Edition
1995
3.67 | 6 ratings
Jubilee Edition
1997
2.25 | 4 ratings
Trailer
1999
4.00 | 6 ratings
The Ultimate Edition
2000
3.14 | 7 ratings
Contemporary Works I
2000
3.14 | 7 ratings
Contemporary Works II
2002
3.38 | 13 ratings
La Vie Electronique 1
2009
3.91 | 13 ratings
La Vie Electronique 2
2009
2.83 | 14 ratings
La Vie Electronique 3
2009
3.06 | 13 ratings
La Vie Electronique 4
2009
3.14 | 10 ratings
La Vie Electronique 5
2010
3.97 | 13 ratings
La Vie Electronique 6
2010
2.28 | 10 ratings
La Vie Electronique 7
2010
3.22 | 9 ratings
La Vie Electronique 8
2010
3.00 | 7 ratings
La Vie Electronique 9
2011
3.00 | 7 ratings
La Vie Electronique 10
2011
2.71 | 7 ratings
La Vie Electronique 11
2012
3.67 | 9 ratings
La Vie Electronique 12
2012
4.07 | 8 ratings
The Schulze-Schickert Session
2013
3.96 | 4 ratings
Privée (with U.S.O.)
2016

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

2.29 | 7 ratings
Come Quietly - with Lisa Gerrard
2009

KLAUS SCHULZE Reviews


Showing last 10 reviews only
 Kontinuum by SCHULZE, KLAUS album cover Studio Album, 2007
3.72 | 68 ratings

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Kontinuum
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars The recovered continuity

Whereas the troubled new-wave / new-age waters of the 80's were a difficult context for Klaus Schulze to express himself, the 90's represent a celebration of his ideas with the explosion of techno and trance. However, for me, it was the third millennium that really saw the genuine awakening of the German Moog pioneer. Schulze finally found his place in the contemporary musical landscape, and managed to renew himself better than most other historical electronic bands, such as TANGERINE DREAM for example.

"Kontinuum" revives the typical schulzian experience by offering extended hypnotic sequenced soundscapes with modern sonorities. The three titles are continuous, forming a single track of 76 minutes. Besides a return to the original 70's recipe, this opus also marks the 60-years anniversary of the synthesizer wizard.

As you may have guessed, "Sequenzer (from 70 To 07)" is a reference to Schulze's career in the musical industry, as his first studio release dates back to his participation to TD's "Electronic Meditation" in 1970. A spacey sequenced title, the Berlin School style, pulsating and mesmerizing. During the last third, the loops vanish to unveil hazy waves of ambient keyboards. A nice trip, although a bit too long, which will be a recurring reproach about the disc. "Euro Caravan" begins atmospheric to then turn esoteric with its middle-eastern-ish vocalizations. Interesting when you know Schulze will further collaborate with Lisa Gerrard from DEAD CAN DANCE... A dynamic sequence reminding the good-old days adds a futuristic fauna to this desert landscape. An electronic caravan is passing...

The 32 minutes "Thor (Thunder)" is the final and longest title of the record. Don't be mistaken by the opening storm sounds, this composition is pretty much in the vein of the previous track, however without less vocalizations and inspiration. With such a title, the listener expecting a dark and raging epic suite will be quite disappointed, as the music is rather calm and takes the time, finishing in an ambient note. Not bad per se, but a little redundant with "Euro Caravan" and definitely too lengthy.

Like me, I believe than many progressive electronic and 70's KS lovers were somehow disoriented by his releases after the ambitious 1978's "X" or 1980's "...Live...". "Kontinuum" arrives as the long awaited album for these fans, the one where Klaus finally remember his magical formula. Although "Moonlake" was more modern and varied, this opus more resembles trademark Schulze compositions in terms of structure and ambiance. There are two major problems though: the length and the redundancy. The music does not expose enough changes or evolutions to justify such durations, and "Thor (Thunder)" is optional.

Anyway, if you're a fan of classic Klaus Schulze, don't miss this disc. "Kontinuum" is one of the best post-1980 works by the German, with "Moonlake". How should we call it? "Modernized vintage electro-prog"?

 Dig It by SCHULZE, KLAUS album cover Studio Album, 1980
2.93 | 64 ratings

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Dig It
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

2 stars Klaus goes digital

Whereas most of his electronic brothers, such as TANGERINE DREAM, KRAFTWERK, Jarre or even NEURONIUM, manage to renew themselves while still offering inspired compositions at the dawn of the eighties, the same thing can't be said for Klaus Schulze. In fact, the German musician is maybe one of the first synthesizer pioneer to exhibit a decrease of inspiration from 1980. Curious, as his works were always demanding and not always accessible. This time either, Schulze didn't - and never - want to turn commercial by proposing radio-friendly tunes. So why "Dig It" is an half-failure?

As the double-pun album title suggests, the sound is now digital, which will greatly harm the progressive electronic genre in the 80's. Goodbye charming trippy analog synthesizers of the 70's, say hello to the soulless icy numerical keyboards of the new decade. In this opus, the German abandons his trademark contemplative and hypnotic soundscapes in profit of... we don't really know, a few shorter tracks, a bit more melodic... however less unreal and magic. Anyway, the music has not aged well and resembles hardly nothing to what he had accustomed us before. Schulze cannot be blamed though for trying to renew himself, but unfortunately the result is not very convincing and the choice of sonorities not always suited.

This change of direction can be perceived from the first seconds of the disc. "Death Of An Analogue" is a sad reference to the gone glorious analogue days of the seventies. Ironic, as the track itself is definitely not in the same league to what the years it refers to. This opener could be described as a digitalized funeral march, with a text narrated by Schulze at the vocoder. Rather monotonous and lengthy. Although "Weird Caravan" is overall average, it does possess a special intriguing ambiance that makes this title unique with its jazzy bass and world / new-agey sounds. The only truly good track is the futuristic "The Looper Isn't A Hooker", for its eerie atmosphere. The length and structure of "Synthasy" should theoretically remind 70's Schulzian soundscapes, but is finally flat and fails to catch attention.

Fans of Berlin School, and even 80's TANGERINE DREAM and Jarre lovers, will be somehow disconcerted by the orientation taken by Klaus Schulze in this decade. This opus marks a transition in his approach, not a very good one I'm afraid. The music is more varied indeed, contains new ideas, but is really also very dated and doesn't provide the immersion and evasion of his former works. Although released at the very beginning of the eighties, "Dig It" makes no exception, and the next albums will follow this path paved with cheesy synthesizers and unequal compositions.

Give it a try if you want to make your own opinion... For me, the German pioneer will take time to wake up and recover his past grandeur...

 Timewind by SCHULZE, KLAUS album cover Studio Album, 1975
4.21 | 233 ratings

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Timewind
Klaus Schulze Progressive Electronic

Review by Progfan97402

5 stars Timewind is the followup to Picture Music and clearly shows this new synth direction that was already obviously shown on Picture Music. This just takes it to the next level. "Bayreuth Returns", for example, is very much dominated by sequencers, and isn't too different from Tangerine Dream's Ricochet (which Ricochet was actually released after Timewind). Unlike Tangerine Dream though, Schulze loved cramming 30 minutes on to one side of the disc, and it shows here. "Wahnfried 1993" is much more calm, without the use of sequencers, and is in fact more in tune with his 1977 album Mirage, so I obviously recommend Mirage if you like what Schulze did on "Wahnfried 1883". The album was dedicated to Richard Wagner, apparently a big influence on Schulze. Nothing short of essential, as far as I'm concerned.
 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.76 | 96 ratings

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Picture Music
Klaus Schulze Progressive Electronic

Review by Progfan97402

4 stars I never bought into the idea this was the album Klaus Schulze recorded in 1973, but not released until 1975. In fact the reason for leaving Kosmische Musik (basically, the new name of Ohr that Rolf U. Kaiser came up with) was the Cosmic Jokers controversy, which I won't get into. So it's popularly believed Picture Music was from this era, but not released on that label due to Schulze being upset with Kaiser and instead having it released on Brain in '75, after Blackdance (his first for Brain). I always thought that was fishy, because Picture Music was basically an all-synth album, and Blackdance still stuck to the old Cyborg-era gear of Farfisa organ and EMS Synthi A. Turns out I was correct, Picture Music was indeed recorded late in 1974 and sounded very much in tune with that time, it was obvious after Blackdance, he was able to purchase a bunch of new gear, and it shows. He apparently also acquired a modular Moog that previously belonged to Florian Fricke of Popol Vuh, who had no further interest in synthesizers (after 1972 he switched to piano after going through a spiritual/religious conversion). "Totem" is the opening cut, has that pulsing synth rhythm sounding like proto-techno. "Mental Door" starts of calm (if I remember right, it's been a while since I heard this album, I just need to pull it out), but then the middle part has percussion, which was apparently from Schulze himself, but it actually sounds like Harald Großkopf (a friendship that did stem from the Cosmic Jokers controversy), it has his style written all over it. I could be wrong, and it was Schulze on drums. Basically, this is the beginning of the mid to late '70s sound that made Schulze famous, away from the early more primitive organ/synth experiments of previous albums. It's very much an album I can highly recommend.
 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.66 | 125 ratings

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Cyborg
Klaus Schulze Progressive Electronic

Review by Progfan97402

3 stars Man, is this a difficult listen! A double LP set that really takes it to the extremes, by making sure nothing is under 22 minutes long (25 minutes is the lengthiest). This simply takes the ideas of Irrlicht to the next level. "Synphära", for example, has this lengthy droning organ with lots of synth effects that go throughout this piece. "Conphära" is a bit more like Irrlicht, featuring strange droning sound, and that same distorted orchestra that sounds more like a Mellotron (Schulze never used a real Mellotron until late 1976, and when he did, he preferred choirs). "Chromengel" is simply a bunch of strange space electronic effect, but more is going on in the next piece, "Neuronengesang" has more going on, but still lots of tripped out sci-fi sounds.

As strange as it seems, I have little trouble sitting through all four sides of Tangerine Dream's Zeit (that album can be a very difficult egg to crack, but it only took me a few listens to get it), but I do have that problem with Cyborg, but I do like the ideas found on this album, but I think sometimes it goes on for just far too long at times. I know a Schulze album is usually never an easy listen, but this is one of his more difficult ones. No wonder he did change his approach to something more accessible (but still not as accessible as 1970s Tangerine Dream at their more accessible). Three stars it is.

 Mirage by SCHULZE, KLAUS album cover Studio Album, 1977
4.26 | 239 ratings

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Mirage
Klaus Schulze Progressive Electronic

Review by Progfan97402

5 stars Klaus Schulze released no less than 3 albums in 1977, Body Love Vol. 1, Mirage, and Body Love Vol. 2. Since the other two were soundtracks, Mirage was the only non-album soundtrack album he did that year. This one emphasizes the more calm and sedate side of him, with rather low key use of sequencers when they are utilized. It would be very difficult to deny this album has a huge impact on an obscure French musician named Serge Lefosse, who recorded as Serge Ramses, and released an album in 1978 called Secret on RCA. That album has a similar feel and vibe but was quite a bit shorter. Anyways back to Mirage, "Velvet Voyage"is completely sequencer free, concentrating on synth soundscapes. It's not too terribly different from the more calm and sedate moments of the Body Love albums or even Timewind. "Crystal Lake" features low key use of sequencers but the middle part is free of sequencers. Whatever the case this is without a doubt a high point in the career of Schulze, and I know I'm not the only one who feels that way. This album is simple required in your collection.
 Timewind by SCHULZE, KLAUS album cover Studio Album, 1975
4.21 | 233 ratings

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Timewind
Klaus Schulze Progressive Electronic

Review by Wasabian

5 stars Timewind is the album that I head Klaus Schulze first time in late 90's, and it should be logical why after listening to it. The atmosphere that Klaus Schulze is able to create on Timewind is fantastic: warm, creepy, alienated, lonely, enigmatic. The synthesized choir sounds caried by the rough wind, bleak pulsing, and sounds of possibly arctic birds echoing through the soundscape on this album. Both tracks have a enigmatic feel coated with spatial loneliness, the sound is very full. The synth is very prominent here among the other electronics, so fans of symphonic progressive rock should find much to enjoy here. If you're looking for a great starter-point for becoming a Klaus Schulze fan, this is most likely the best choice. Highly recommended.
 Live by SCHULZE, KLAUS album cover Live, 1980
3.11 | 36 ratings

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Live
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Schulze's first live and last analog album

Finally, after eight years of career, here is Klaus Schulze's long awaited live album! Difficultly understandable when you know the German pioneer was already very prolific. Like other electronic artists of the 70's such as his fellow countrymen TANGERINE DREAM, his concerts were often composed of improvised and previously unreleased material. Nowadays, some of these performances can be found as bonus tracks on the Revisited Records Editions or in the "La Vie Electronique" boxsets.

Nonetheless, this live compilation, just titled "...Live...", is a double album compiling more than two hours of sequenced music within four gigs extracts, from 1979 and 1976. All tracks have a typical 'schulzian' duration, i.e. 20 to 30 minutes, except "Sense" which lasts... 51 minutes! The last piece also contains a little surprise... Musically speaking, the style is quite similar to Klaus's melodic and retro-futuristic works during the late 70's, such as "Moondawn" and the two "Body Love". Nonetheless, there is slight difference this time, as the compositions sounds more modern, more sci-fi, maybe due to the usage of rhythm boxes.

I personally consider Disc 1 more interesting than Disc 2. "Bellistique" was recorded in Paris, November 13th 1979. Although the shortest track of this compilation, this is my favorite. An hyper pulsating sequence for an over-trippy music. I cannot think of another piece from Schulze sounding this fast and furious at the time, it simply foreshadows the trance genre of the 90's! Mindblowing! A bit repetitive, however dark and thrilling... Chaotic and atmospheric, the ending is quite frightening. Recorded in Berlin, October 5th 1976, "Sense" is the only track not from 1979. This 51 minutes long mastodon is the central point of the album and features Harald Grosskopf at percussions. After an ambient hazy introduction, a short evanescent mesmerizing loop disappears into smoke to unveil the main theme that will nearly last until the end, with nice spacey variations. A sensation of misty magic reigns over this tune. The mysterious vaporous sequence comes back for the final section. For sure, "Sense" could certainly have been shortened to 30 minutes, but this piece still remains overall quite good. 4 stars.

Disc 2 is unfortunately less inspired. Recorded in Paris, November 13th 1979, "Heart" opens in a calm but spooky atmosphere. It then turns more rhythmic and futuristic, with strange sound effects and synthesizers sounding even Middle-Eastern-ish at times. The second half sees the pace speeding up at the second half as well as pretty cool passages. Schulze plays his keyboard soli like a guitar hero here! An uneven composition, which contains very pleasant moments though. "Dymagic" was recorded in Amsterdam, October 27th 1979, and features Arthur Brown at vocals. The German musician already collaborated with the him on "Shadows of Ignorance", for his album "Dune", released the same year. Quite unique in its own way, this minimalistic track resembles nothing Klaus did before, or even after. It mainly consists in the same electronic loop supporting Arthur Brown's mad vocals. Half-narrated, half-narrated, the English singer enters a shamanic transe and seems to be fully possessed by some unknown demon. All this give the impression of a crossing between an obscure incantation with a mechanical ritual. Except the final section, relaxing and spacey, there are not many changes, even if the rhythm increases in the last third. Easily one of Schulze's weirdest pieces, some will immediately fall in love with its special craziness and esoteric ambiance, while others will just skip this nonsense. 2 stars.

In conclusion, although unequal, "...Live..." remains an interesting yet heterogeneous live compilation. One interesting thing about it is that each listener may have a different appreciation of each part. For me, the interest goes decrescendo: the tracks are respectively great, good, uneven and... bizarre. I would have liked to have the 1977 Köln WDR concert extract "For Barry Graves" featured here, instead of "Dymagic" for example. Another point worth mentioning is that there are not many contemplative soundscapes in this double album, however these 1979 compositions are much more lively than "Dune".

"...Live..." was for a long time the only testimony of Klaus' seventies performances and still remains one of his best live releases. Every fan of the late 70's retro-futuristic side of Schulze should give it a listen to make his own opinion.

After this one, the German keyboard wizard will turn digital, and this will be another story...

 X by SCHULZE, KLAUS album cover Studio Album, 1978
4.11 | 210 ratings

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X
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Schulze has 'classical' ambitions

Named after its chronological release order, "X" was certainly the most ambitious electronic record of its time. This massive double album (originally 2x60 minutes, 2x80 minutes for the 2005 Revisited Records Edition) attempts to marry the stretched Berlin School schulzian soundscapes with classical music. Subtitled "Sechs Musikalische Biographen", this tenth opus consists in six pieces, or biographies, each one evoking an artist or intellectual who inspired the German musician. Some tracks incorporate classical instruments, such as cello and violin, and even an entire orchestra, the "Orchester Des Hessischen Rundfunks".

It should be noted that Schulze already manipulated the recordings of a string orchestra in his 1972 debut "Irrlicht", resulting in eerie drone landscapes of desolation. However, this time, the symphonic parts are not modified. Musically speaking, the electronic parts borrow the extended static impressions of "Timewind" as well as more melodic and percussive elements in the vein of "Moondawn" and "Body Love". When we think about it, the symphonic genre is perfectly suited to Klaus' universe and compositional style. After all, he always had a great admiration for the classical composers ("Timewind" was a tribute to Richard Wagner). Therefore, this mixture of genres was an unavoidable exercise for him. With VANGELIS, Schulze was maybe THE 70's electronic artist for such an experiment.

Nevertheless, great ambitions does not necessarily make constant quality, especially during two hours of music. So, didn't Klaus Schulze went too far with "X"?

Disc 1 is still rather dominated by synthesizers. After its ambient contemplative opening, "Friedrich Nietzsche" mixes Harald Grosskopf's percussions, a superb chorus, electronic loops and trippy synthesizer soli to create a slowly evolving, immersive and melancholic soundscape. You travelled through the cosmos to land on a deserted extraterrestrial landscape. One of Schulze's greatest compositions from the seventies! The next two biographies are only ones not including classical music elements. "Georg Trakl" was an Austro-Hungarian poet. This cool piece is a short, calm and mysterious interlude, resembling a little TANGERINE DREAM's hazy style. Klaus was also a science fiction fan: Frank Herbert is the only personality of "X" not of German culture. The track starts with a dark and pulsating sequence in the vein of a TD soundtrack. The result is even more futuristic than Schulze's next album, "Dune". Nonetheless, there are hardly no changes at all during these 11 minutes. Wilhelm Friedemann Bach was a German composer from the family of Johann Sebastian. His musical biography differs slightly from the others of the first disc, as this is the first genuine track to marry classical and electronic music. The atmosphere is tragic, thrilling, reinforced by B. Dragic's frightening solo violin interventions and strange sound effects. An anguishing nightmare when you're in a maze dating back to the Renaissance, trying to escape from an invisible threat. The ending is quite chaotic and enigmatic. 4 stars.

Disc 2 incorporates more classical music elements, but is unfortunately less inspired. In collaboration with an orchestra conducted by Wolfgang Tiepold, "Ludwig II Von Bayern" is the composition where the marriage of Schulze's electronic soundscapes and the symphonic style is the most successful. Using a passage from Vivaldi's 11th concerto in D minor for two violins, cello and strings, it exposes the German artist's admiration for the great classical composers. Supported by a fast synthesizer loop, the first third is superb, elegant and epic. Magic! Nonetheless, this refined musical sculpture only lasts the first ten minutes. The second third is difficulty understandable. An uninteresting and repetitive orchestral passage, sounding as if the record was broken. Was Klaus' part forgotten in the final mix? The last section just recycles the theme from the first third. In fact, this track could have been shortened to its 10 first minutes. Named after a German writer, "Heinrich Von Kleist" features Wolfgang Tiepold at cello. This slow piece is mainly ambient, calm and melancholic, even experimental at times. The problem is that, except the contemplative chorus, nothing really happens during these 30 minutes, which finally become rather boring. 2 stars.

The 2005 Revisited Records Edition is not very essential. The bonus track, "Objet d'Louis", is a poor quality recording of a 1978 performance of "Ludwig II von Bayern", with an orchestra. The reissue also features the original 26 minutes version of "Georg Trakl", rather monotonous.

Ambitious, uneven, daring, however undoubtedly original, "X" is a colossus containing both gorgeous musical pieces and less interesting moments. A controversial release, some will love it immediately, others won't enter this beautiful and nightmarish world at first listen. I personally find this tenth offering a little overrated, but this fusion of electronic and classical elements had to be tried. If "X" had been a single album, consisting in the first disc with the first 10 minutes of "Ludwig II Von Bayern" replacing "Frank Herbert", then it would have been a masterpiece.

As you may understand, this double symphonic opus is not very accessible and definitely not the one to start with for newcomers. However, this ambitious effort remains essential for anyone wanting to explore Klaus Schulze and progressive electronic. After all, the marriage with classical music is not that common in this genre.

"X" unfortunately marks the end of Schulze's 'golden' era. After this one, the quality of his albums will become less regular...

 Body Love - Vol. 2 by SCHULZE, KLAUS album cover Studio Album, 1977
3.93 | 96 ratings

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Body Love - Vol. 2
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

4 stars It's even better the second time

Despite the title and the sensual cover art, "Body Love 2" is not the soundtrack to a sequel to Lasse Braun's erotic movie. The three compositions were initially candidates to the "Body Love" score, but were finally not retained. However, as Island Records asked Schulze an accessible electronic record, in the vein of "Moondawn" and "Body Love", the German artist choose to release these tracks as an official studio album. By the way, when did Klaus sleep? This ninth opus was already its third one of 1977!

Completely different from the icy depressive soundscapes of his previous effort, "Mirage", the style is - as you expect - pretty much similar to the "Body Love" soundtrack. Supported by Harald Grosskopf's percussions, the music is more melodic, spacey and futuristic.

Longest track of the disc, "Nowhere / Now Here" starts with an ambient and cosmic overture. Slowly evolving with progressively appearing drums, this first half is just mesmerizing, possessing a little floydian feel. The pace suddenly accelerates for the second half, mystical whirlwinding keyboards weave a mysterious web over a quite robotic sequence. The strange ending section is simply stellar! Space-time is distorted, get ready to travel through a sonic wormhole. From nowhere to now here, that's what it is. All makes sense. A brilliant tour de force!

"Stardancer II" is just a (very slightly) rearranged version of the original "Stardancer" from the first opus, maybe a bit more futuristic. The record concludes with "Moogetique", which surprisingly takes us back to Schulze's early years. Contrasting with the other compositions, this track resembles Klaus' drone experiments from "Cyborg" or even "Irrlicht", with added eerie sound effects. A hazy introduction deploys a claustrophobic and gloomy atmosphere. You're wandering into a cold world of sadness and darkness. Enjoyable, but probably my least favorite.

Let's go straight to the point: if you liked "Body Love", you'll enjoy Volume 2. Furthermore, I find this album is more consistent and less monotonous than the movie score. Again, this is neither sensual nor romantic music, but rather a soundtrack to fly between the stars at any speed you want aboard your spaceship.

Although one of Klaus Schulze's lesser-known release, "Body Love 2" is one of his best offerings from the seventies. Don't miss it!

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

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