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KLAUS SCHULZE

Progressive Electronic • Germany


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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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TimewindTimewind
Made in Germany Musi 2016
$13.43
$12.49 (used)
KontinuumKontinuum
SPV 2007
$15.23
$20.93 (used)
CyborgCyborg
Made in Germany Musi 2015
$13.86
$15.00 (used)
TranceferTrancefer
Revisited Records 2007
$32.18
$7.77 (used)
Go  [Reissued][Remastered]Go [Reissued][Remastered]
Remastered
Esoteric 2008
$11.40
$15.44 (used)
XX
Made in Germany Musi 2016
$14.38
$18.20 (used)
En=tranceEn=trance
Remastered
Made in Germany Musi 2017
$15.24
$17.40 (used)
MoondawnMoondawn
Made in Germany Musi 2016
$12.84
$16.03 (used)

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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)

3.52 | 162 ratings
Irrlicht
1972
3.69 | 149 ratings
Cyborg
1973
3.44 | 140 ratings
Blackdance
1974
3.77 | 121 ratings
Picture Music
1975
4.22 | 282 ratings
Timewind
1975
3.72 | 179 ratings
Moondawn
1976
3.98 | 121 ratings
Body Love (OST)
1977
4.29 | 300 ratings
Mirage
1977
4.01 | 114 ratings
Body Love - Vol. 2
1977
4.02 | 244 ratings
X
1978
3.18 | 98 ratings
Dune
1979
3.06 | 80 ratings
Dig It
1980
3.28 | 64 ratings
Trancefer
1981
3.27 | 84 ratings
Audentity
1983
2.82 | 50 ratings
Angst (OST)
1984
2.43 | 32 ratings
Klaus Schulze & Rainer Bloss: Drive Inn
1984
1.73 | 24 ratings
Klaus Schulze, Rainer Bloss ‎& Ernst Fuchs: Aphrica
1984
3.72 | 16 ratings
Transfer Station Blue
1984
2.86 | 45 ratings
Inter*Face
1985
2.69 | 43 ratings
Dreams
1986
2.94 | 34 ratings
Klaus Schulze & Andreas Grosser: Babel
1987
3.32 | 53 ratings
En=Trance
1988
2.48 | 41 ratings
Miditerranean Pads
1990
3.10 | 44 ratings
Beyond Recall
1991
2.33 | 30 ratings
Le Moulin De Daudet (OST)
1994
2.67 | 29 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
3.84 | 56 ratings
In Blue
1995
2.69 | 20 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog IV
1996
3.16 | 37 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
3.51 | 54 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
3.63 | 19 ratings
Ballett 2
2006
3.70 | 20 ratings
Ballett 3
2007
3.35 | 17 ratings
Ballett 4
2007
3.75 | 80 ratings
Kontinuum
2007
3.45 | 56 ratings
Klaus Schulze & Lisa Gerrard: Farscape
2008
3.73 | 23 ratings
Pete Namlook & K. Schulze: The Dark Side Of The Moog XI
2008
3.76 | 19 ratings
Virtual Outback
2008
3.60 | 41 ratings
Shadowlands
2013
3.45 | 11 ratings
Another Green Mile
2016
3.63 | 16 ratings
Klaus Schulze & Solar Moon System: Ultimate Docking
2017
3.60 | 20 ratings
Androgyn
2017
3.11 | 17 ratings
Silhouettes
2018
3.50 | 4 ratings
Cocooning
2018
3.13 | 4 ratings
Timbres Of Ice
2019

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

3.04 | 49 ratings
Live
1980
2.70 | 46 ratings
Dziekuje Poland (with Rainer Bloss)
1983
3.55 | 29 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
3.49 | 26 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
3.38 | 10 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
3.39 | 17 ratings
La Vie Electronique 1
2009
3.89 | 16 ratings
La Vie Electronique 2
2009
2.85 | 17 ratings
La Vie Electronique 3
2009
3.08 | 17 ratings
La Vie Electronique 4
2009
3.18 | 14 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 | 13 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
4.20 | 5 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
 Dig It by SCHULZE, KLAUS album cover Studio Album, 1980
3.06 | 80 ratings

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Dig It
Klaus Schulze Progressive Electronic

Review by Progfan97402
Prog Reviewer

4 stars It's clear this is the start of the '80s as far as Klaus Schulze is concerned. Clearly not a continuation of Dune. While he still used tons of his old gear at this time, on this album he didn't bother and instead used exclusively the GDS computer (and some help with percussion and drums). Trancefer only proved he returned to the old gear augmented by the GDS (and likely newer stuff too). "Death of an Analogue" is definitely prophetic as far as the title goes (by 1985 it's was difficult to find any analog synths being used, digital was in full force by then). This was recorded digitally (Hawkwind's Levitation, released around the same time, was recorded digitally, and so were several other albums since 1979 including Ry Cooder, Stevie Wonder, True Myth). It definitely has a more minimalist abstract approach, and probably not the best way to start the album, as I wished there was more development. It's nice hearing the vocoder, though. "Weird Caravan" is an odd one, as he basically explore reggae, electronic style. I actually found this one more enjoyable than "Death of an Analogue", I guess his exploration into reggae. Don't worry, he didn't go all Bob Marley on us, it's still instrumental electronic, it's that he included reggae rhythms in this piece. "The Looper isn't a Hooker" is truly one of the album's highlights, as he really soars here. "Synthasy" is one of his slow droning pieces that seems to be his trademark, so it's closest to the classic Schulze sound you're going to get here.

I needed to point out that it's hard not to think that Dig It is to Klaus Schulze what Stuntman is to Edgar Froese. Both albums were clearly departing from the 1970s going for a more 1980s sound with a digital approach. Edgar's album came first, a year before Dig It. While Edgar was still using some of his old gear (the Mellotron clearly not one of them) he used new state-of-the-art digital gear (most notably a PPG synthesizer). Schulze used the Crumar GDS mainly, and he went one step further by recording this album digitally. And like both albums there are modern 1980s digital synth sounds that sound easily pass for a Yamaha DX-7, two to three years before the DX-7 hit the markets.

Thanks to the crystal clear digital production and recording, if it weren't for the occasional snap, crackle and pop on my used vinyl copy (original orange Brain pressing), I could have easily sworn I was listening to a CD (the CD did not exist in 1980, although it was obviously reissued on CD many years later).

In conclusion, I'm surprised how good 3/4 of this album is (with "Death of an Analogue" being my least favorite). I generally dread the 1980s given how so many electronic artists of the '70s had started to explore either synth pop or New Age by the 1980s. Seems that Klaus Schulze simply updated his sound and explored new ground with Dig It, but did it rather well. Surprisingly good, despite the opening cut.

 Pete Namlook & K. Schulze: The Dark Side Of The Moog XI by SCHULZE, KLAUS album cover Studio Album, 2008
3.73 | 23 ratings

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Pete Namlook & K. Schulze: The Dark Side Of The Moog XI
Klaus Schulze Progressive Electronic

Review by hieronymous

4 stars This is the eleventh and final installment in the DSOTM series. It has dark, ominous grooves and wild soloing on (electric guitar- sounding) synth and what sounds like actual electric guitar. The soloing is something I associate with Klaus Schulze and his role in the Dark Side of the Moog series, but actually I don't know who's playing what. Are the grooves by Namlook and the non-repetitive stuff by Schulze? It's actually fine not knowing, as much as there is virtuosity in this set, it's not about the spotlight, it's about the mood(s). There are only four pieces on this album (only three tracks on the CD, the surround version splits the music into four tracks) ? the first three pieces are fairly extended, two being close to 20 minutes, but they are actually quite engaging, slowly shifting but becoming quite intense in places. Part IV contains some bird sounds and sounds like a field recording from outside the studio during a break - a peaceful ending to an album that would turn out to be the last due to Namlook's untimely death at age 51 in 2012. Definitely an excellent representative of the series - if you've heard others this one shouldn't disappoint, and if you're not familiar then this would be a fine place to start.
 Blackdance by SCHULZE, KLAUS album cover Studio Album, 1974
3.44 | 140 ratings

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Blackdance
Klaus Schulze Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

5 stars Once KLAUS SCHULZE left Tangerine Dream after playing drums on the band's debut "Electronic Meditation," he set out to craft a solo career and there was no looking back. SCHULZE mastered the art of crafting some of the most innovative electronic techniques that paralleled his former band but sounded light years away. During the early years SCHULZE not only created some of the most unique progressive electronic sounds in all of Germany but also collaborated with other artists such as Ash Ra Tempel, Walter Wegmüller and unknowingly a major part of the Cosmic Jokers. The beauty of SCHULZE's works were that each forged its own way and crafted a distinct feel unlike any other artist or from his own previous albums. BLACKDANCE was also the first to be released in England on the Caroline, a Virgin label which opened his music to a much wider audience outside Germany.

The third album BLACKDANCE was released in 1974 but due to errors in the packaging about the date, the album was long thought to be the fourth album after the 1975 release "Picture Music" and has mistakenly been released as the fourth album in newer reissue series but it has nowadays been correctly been placed in its proper chronological order. The album featured new developments in SCHULZE's early sound that created a never-ending series of timbre gymnastics that ranged from relaxing to creepy and downright startling. While the debut "Irrlicht" featured an industrial coldness that was designed to alienate the listener and "Cyborg" followed in its footsteps, BLACKDANCE on the other hand took on a much more organic sound with not only non-synthesized instruments such as 12-string guitar and the bass vocals of Ernst Walter Siemon adding a more human touch. Congas and tabla also added more "authentic" percussive sounds.

The album was original released with only three lengthy tracks. "Ways Of Change" (17:50) and "Some Velvet Phasing" (8:30) composed the side A of the original vinyl album and the 22:30 "Voices of Syn" took up the entire B side. Subsequent CD remasters have included the unreleased tracks "Foreplay" and "Synthies Have (No) Balls?" which add an extra 24 minutes of creepy synth tones but are of a lesser quality for whatever reason. Progressive electronic music is actually quite difficult to gage and review as it's all so cerebral and the different approaches of the various albums will appeal to different music lovers for different reasons. While the first two albums were abstract and otherworldly, BLACKDANCE seems a lot more grounded. Perhaps due to the fact that SCHULZE switched to real synthesizer, real organs, piano and the extra touches of guitar and voice.

"Waves Of Changes" comes off exactly as the title portends, namely an oscillating series of synth sequences that slowly ratchet up the tension but then are caressed by the lushness of an acoustic guitar that strums on and on and on but after a few minutes the track becomes a percussive beast with tablas and congas breaking the synth swirls. The album immediately sets itself apart from the first two SCHULZE albums and this tracks is particularly energetic. SCHULZE has always stated that all musicians should learn how to play drums as it allows one to feel out the grooves and rhythms and this track with its percussive bombast alongside the rhythmic swirls and out buzzes makes it clear that progressive electronic music is indeed percussive. It's just that the percussion is usually implied rather than explicitly stated.

"Some Velvet Phasing" settles into a more familiar feel as a pure electronic synth sounds jet in and out of the audio zone as organs create creepy semi-musical scales that sort of create a hypnotic repetition and at a mere 8:30, the shortest track on the album. "Voices Of Syn" is my favorite track. It starts out with Ernst Walter Siemon singing operatic bass vocals in a liturgical chanting style while SCHULZE slowly ratchets up the oscillating waves of synth sounds that ultimately take over the dominate the pulsating soundscape that flows like a river into a sea of ambient foreverness. Siemon was an opera singer who was rehearsing at a studio in Berlin when Schulze was recording on Tangerine Dream's first album. The track carries the stream of consciousness with a constant drone leading the fluttering synth sounds that carry on for the side length run and slowly extinguish yet another lengthy album of cerebral contemplation and spaced out surreality.

BLACKDANCE is one of my favorite early KLAUS SCHULZE albums. Whereas many albums run a monotonous gamut no matter how interesting they may be, BLACKDANCE exhibits three distinct moods that find a much more varied wealth of tones, tempos, timbres and textures. The atmospheres are intense but the overall feel of the album is less intense due to the guitar, percussion and vocals on board. The organ droning adds the proper hypnotic surreality to the album while the other elements seemingly exist in a parallel universe and are merely bleeding over to this one. It's always interesting why certain albums by an artist catch on with the masses and others seem to go unnoticed. BLACKDANCE usually takes a backseat to the other albums that surround it but in my book, it's one of the most distinct and most interesting and the one i prefer to get lost in as opposed to the more popular "Mirage" or "X. As far as i'm concerned this one is absolutely brilliant and should rightfully be regarded as a classic.

 En=Trance by SCHULZE, KLAUS album cover Studio Album, 1988
3.32 | 53 ratings

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En=Trance
Klaus Schulze Progressive Electronic

Review by patrickq
Prog Reviewer

2 stars En=Trance, originally released as a double-LP in 1988, is a perfect example of ‪Klaus Schulze‬ keeping up with the proverbial times. He used the latest equipment (e.g., Roland S-50 sampling keyboard and TR-505 drum machine, both from 1986) and the latest sounds, epitomized by the Yamaha DX7 mark II, released in 1987, which used FM synthesis, the then-hot technology.* At the time, the DX7 was pretty amazing, and although its sounds could be customized extensively, they were so awesome that many artists didn't see the point. I'm no expert, but it sounds like Schulze may not have approached digital FM synthesis as experimentally as he had undertaken analog synthesis, beginning with Blackdance in 1974 - - and certainly not as experimentally as he had approached modifying Teisco and Farfisa organs before that. For centuries, people have complained that new technologies make people lazy, and relatedly, that there's intrinsic value in hard work, even if it's totally unnecessary hard work. Writing with a fountain pen instead of using an inkwell, driving a motorcar instead of a horse-drawn carriage, using a calculator instead of doing math by hand - - each of these was seen as evidence of the demise of "grit" and of the fundamental laziness of humanity. The truth in this belief is that, thanks to the new technology, you needn't expend much effort to surpass the results of the old technology. What makes someone like Schulze interesting is that we can compare his output across four generations of synthesizer technology: pre-synth, analog (1974-1979), digital (c.1980s and 1990s), and virtual.

The middle two sides of En=Trance ("α-Numerique" and "FM Delight") are the least interesting to me, but not only because FM is among my least favorite types of synthesis. I think it's also because, despite the lengths of the tracks (‪16:32‬ and ‪17:29‬ on the 2005 Revisited remaster), these tracks seem rushed in places; perhaps because of improvements in technology, Schulze had more time to develop more ideas, more of which he squeezed into vinyl side.* "α-Numerique" and "FM Delight" also suffer from overuse of lead parts, some too dramatic to my ears, and others too shrill.

As far as I know, En=Trance marked just the second album on which Schulze used a drum machine throughout. On eighteen of his prior albums, most rhythms were provided by a waveform, a sequencer, or a drummer or percussionist. Here, as on Angst, it's all drum machines. That works well on side one ("En=Trance") and reasonably well on the final track, "Velvet System." But for most of Schulze's music, I prefer the feel of the percussionist following along with - - or keeping up with - - the synthesizer or sequencer.

The best track here is "En=Trance;" not surprisingly, it's the most reminiscent of Schulze's mid-1970s work, especially the movement beginning at 4:15. Over the next few minutes, though, a familiar pan-flute preset exerts itself, and "En=Trance," bless its heart, threatens to become a wholly redundant remake. Luckily, it never follows through on the threat. "Velvet System" is nearly as good; coming after "α-Numerique" and "FM Delight," it represents a return to the pensive sequence-based sound of "En=Trance," at least until 12:30, when an unnecessarily theatrical sequence takes over. "Elvish Sequencer," the relatively brief bonus track on the 2005 reissue, was recorded in 1975, but doesn't sound as out of place as you might think. It's nearly entirely sequence-based - - it's missing the lead synth part common to so many Schulze works. In a nice twist, it has two false endings; but as "Elvish Sequencer" is evidently incomplete, those endings come too soon.

To those FM synthesis fans (or DX7 aficionados) interested in late-1980s progressive-electronic art music, I'd recommend En=Trance, but to those interested in Schulze, I'd suggest trying out any of his first ten LPs first.

====

*Another strikingly modern aspect of the record was its stark, high-contrast artwork.

**En-Trance was the second of Schulze's albums to be released simultaneously on CD, and his second "DDD" release.

 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.69 | 149 ratings

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Cyborg
Klaus Schulze Progressive Electronic

Review by friso
Prog Reviewer

4 stars I don't usually listen to electronic music, but these early works from the seventies with their eerie covers and titles somehow trigger memories of childlike fantasies and attraction. I already owned Tangerine Dream's 'Zeit' double lp and expected this to be in a similar vain, yet this record wildly exceeded my expectations!

Skimming through my colleague's reviews I frequently stumble upon descriptions as non-lineair, droning, non- melodic, modern, ambient and so forth. All these do apply in abundance, yet I was surprised how harmonic and musical this record actually was! To me these four side long pieces feel like quite natural one-man meditations on technology-driven modern classical music. Every piece could have lost 5-10 minutes without being comprised in impact. Then again, the record does offer time to fully embrace its soundscapes and trigger once's own projections on it. The opening track Synphära and closing track Neuronengesang offer most variety and engagement and are therefor arose as my favorites at first spin. Conphära is a strong experimental piece with a mind boggling main drone and melancholic strings (which start to distort slightly toward the middel of the vinyl). Chromengel is perhaps my least favorite and reminds me most of the bleak minimalism of 'Zeit'.

I can't imagine any-one really enjoying this on headphones of low-fi stereo equipment. This isn't really music, not in a traditional way. It's more like a abstract movie you have to watch with your eyes closed. Guided imagination. A soundtrack to trigger your own sci-fi fantasy. Klaus Schulze offers a complete work with a unique impact and therefor my rating of four stars is more then accounted for.

 Trancefer by SCHULZE, KLAUS album cover Studio Album, 1981
3.28 | 64 ratings

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Trancefer
Klaus Schulze Progressive Electronic

Review by patrickq
Prog Reviewer

3 stars A lot of great electronic music - - and music in general - - has been created using digital synthesizers. So my preference for Klaus Schulze's analog period (i.e., essentially the 1970s) has little to do with the type of synthesis. And actually, his first two albums (Irrlicht (1972) and Cyborg (1973)) didn't feature any synthesizers. When it first became practicable for him to use analog synths, he did so right away, on Blackdance (1974). Over the next eight albums he continued to add and subtract other techniques and instruments, the analog synthesizer being the only real constant.

The claim that Schulze was successful in the 1970s seems borne out by his ability, in 1980, to purchase a Crucianelli GDS digital synthesis computer for around US$27,000 ($84K today). He first used the GDS on Dig It, released a year prior to Trancefer. An interesting note: only five or six of this GDS model were produced. Wendy Carlos also bought one and used it (extensively, as I understand it) on the Tron soundtrack. Anyway, Schulze had plenty of commercial success with an idiosyncratic style of analog synthesis across ten albums from Blackdance to ...Live... (1980), but when digital synthesis became available, he embraced it fully.

The works on Dig It were more song-oriented than most of Schulze's output, and these was stylistic diversity both within and between its tracks. In this respect Dig It was similar to its predecessors, X (1978) and Dune (1979). On the other hand, the two tracks comprising Trancefer are more repetitive and, as the title implies, trance- like - - harkening back to Schulze's mid-1970s work. Unusually, the personnel are the same throughout the entire album: Schulze, Wolfgang Tiepold (cello), and Michael Shrieve (percussion). Since Schulze's next albums, Audentity (1983) and Angst (1984) would continue the trend of heterogeneity between tracks, Trancefer seems to be a belated bookend to an earlier era.

The arrangements on the two tracks are reminiscent of the rhythmic movements of albums like Blackdance and Moondawn, with 'A Few Minutes After Trancefer' the more energetic and 'Silent Running' relatively subdued. Shrieve's contributions are well-integrated in most places, if a little too forward in the mix for my taste. Unlike much of Harald Großkopf's drumming on four of Schulze's prior albums, Shrieve's percussion tends to dovetail with the sequencer parts rather than establishing a backbeat. Throughout much of Trancefer, Tiepold serves a similar purpose, although elsewhere his cello does the opposite, clashing musically and rhythmically with Schulze's sequenced parts.

In short, Klaus Schulze has recorded some truly great works of electronic prog. He's also released some duds. Trancefer is neither. Nonetheless, it's a good album, and it's probably the best of his early digital works.

 Dziekuje Poland (with Rainer Bloss) by SCHULZE, KLAUS album cover Live, 1983
2.70 | 46 ratings

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Dziekuje Poland (with Rainer Bloss)
Klaus Schulze Progressive Electronic

Review by patrickq
Prog Reviewer

1 stars I'm pretty stingy with five-star ratings, having awarded fewer than twenty. Four of these I've given to Klaus Schulze (for Picture Music (1975), Mirage, Body Love 2 (both 1977), and X (1978)). Among my favorite progressive-music artists, Schulze is second only to Yes. Maybe that's why I consider Dziękuję Poland: Live '83 to be a one-star album - - perhaps I have higher expectations of Schulze than of other artists. Either way, I just can't get into an album of two synthesizer players (Rainer Bloss and Schulze) playing along to prerecorded tracks.

There are six live tracks recorded in 1983.* "Dziękuję" ("thank you") is a six-minute improv which is mainly Schulze addressing the crowd. Three others are songs from Audentity: "Tango-Saty" (called "Warsaw" here) and two versions of "Spielglocken" ("Katowice" and "Dzién Dobry!," the latter appearing as a bonus track on releases since 2006). "Gdansk," seems to be a radical reworking of "Cellistica," also from Audentity. Finally, there's also a version of "Ludwig II. Von Bayern" (from X) called "Lodz." And "Lodz" is a perfect exemplar for this album. "Ludwig II. Von Bayern" is my favorite Schulze song, and you might think I'd appreciate Schulze taking a shot at a live version. Actually, he had done so five years earlier in the form of "Objet D'Louis," now included as bonus track on newer releases of X. This version features a string orchestra, and it doesn't really work. But while "Objet D'Louis" pales in comparison to the original, it is still a live rendition of "Ludwig II. von Bayern." "Lodz," on the other hand, has the performers playing along to the orchestral backing tape, except for the passages when it's just the tape playing. The same can be said of "Warsaw," "Katowice," "Dzién Dobry!," and to some extent, "Gdansk" - - i.e., just about the entire album.

I have one other complaint: until 2006, Dziękuję Poland: Live '83 had the names of both performers on the cover: Schulze and Bloss. The artwork was changed to remove Bloss's name, although he's given his due in the liner notes. Why the historical revision? What changed between 1983 and 2006 to reduce Bloss's worthiness?

To be fair, based on the liner notes, the concert tour documented on Dziękuję Poland is of historical significance; as you can tell by the date, Schulze and Bloss were performing in the Eastern Bloc, behind the proverbial Iron Curtain, in Poland. In fact, Poland was still under a period of martial law when the concerts were given: General Jaruzelski declared on December 13, 1981, "I declare, that today the Military Council of National Salvation has been formed. In accordance with the Constitution, the State Council has imposed martial law all over the country." As it turns out, the legislature later deemed this unconstitutional, but what else is new? Anyway, martial law was lifted on July 22, 1983; the ten Schulze-Bloss concerts were held from July 1 to July 10 in eight cities across the country, although they had been planned in advance of this. To put this on a timeline, The Niezależny Samorządny Związek Zawodowy "Solidarność" (Labor Union "Solidarity") movement began in September 1980, and a year later one out of every three working-age citizen was a member (you can see why martial law was declared when it was). But "semi-free" elections weren't held until June 1989. So yeah, this concert tour is notable.

But the music's not. Retailing at around $22, Dziękuję Poland: Live '83 is not cheap, yet it adds very little to the collection of a Schulze fan who already owns Audentity and X, each also a two-CD set selling for around the same price. Only for die-hards or for those with an interest in or connection to Poland in the 1980s.

*There's also a studio bonus track, "The Hip-Hop Midas Touch," recorded in either 1984 or 1985.

 Angst (OST) by SCHULZE, KLAUS album cover Studio Album, 1984
2.82 | 50 ratings

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Angst (OST)
Klaus Schulze Progressive Electronic

Review by patrickq
Prog Reviewer

3 stars Not one of Klaus Schulze's better albums, Angst is nonetheless pretty good, which says a lot: by my count, Schulze has eight albums which I consider worthy of four or five stars.

It's no surprise that Angst was intended as soundtrack music. It employs sounds similar to those used by Harold Faltermeyer on the Thief of Hearts and Beverly Hills Cop soundtracks, and even more like Jan Hammer's Miami Vice score - - all of which were released in 1984. Angst appeared first, though I very much doubt that it was a direct influence on either Faltermeyer or Hammer. At any rate, if you're looking for soundtrack music built around mid-1980s sequencers and LinnDrums, you've come to the right place.

If you approach Angst as a fan of Schulze's 1970s work, as I did, you might be persuaded to believe that this is some other musician named Klaus Schulze. And if you're a pessimist, it'll confirm everything you've heard about 1980s progressive music: the songs are indeed shorter, less sophisticated, and more mechanized.

While some 1970s prog-rock bands (E.L.O., the Moody Blues, Rush, etc.) actually produced some of their classic work in the 1980s, that doesn't seem to be the case with Schulze, although I've not yet heard his entire output from that decade. Still, Angst is clearly better than its predecessors, Audentity and Dziękuję Poland: Live '83. It may be less intricate than those works, but its clarity and focus make for an enjoyable listen.

 Audentity by SCHULZE, KLAUS album cover Studio Album, 1983
3.27 | 84 ratings

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Audentity
Klaus Schulze Progressive Electronic

Review by patrickq
Prog Reviewer

2 stars Three songs on Audentity portend the future of Klaus Schulze's music, while three recall the past. (There's also a bonus track in the 2005 and subsequent CD reissues.*) The first two tracks on the reissue, "Spielglocken" and "Cellistica" are an indication of the streamlined, sequenced sound Schulze would pursue with Angst, his next studio album. The brief (5:48) "Tango-Saty," originally the album's second song, would also have fit on Angst.**

Meanwhile, "Sebastian im Traum" is a bit of a return to Moondawn-era Schulze (i.e., 1976); it sounds like "Mindphaser" to me. "Amourage," with its synth noodling over a rhythmless atmosphere, is also a throwback to Schulze's mid-1970s output; so does the pulsing "Opheylissem." "Opheylissem," apparently named after the Belgian town, bears more than a passing resemblance to "Frank Herbert" (from X, 1978) and "Stardancer II" (Body Love 2, 1977). But none of these three really compares to those classics. First of all, Schulze had already produced plenty of music that sounded similar to "Sebastian im Traum," "Opheylissem," and "Amourage." Secondly, the sequencing seems to undergird and ground these pieces; earlier in his career, Schulze would trigger preprogrammed sequences during his longer pieces, making the sequencing appear secondary to the work as a whole.

It should also be pointed out that a drum machine is nothing more than a specialized sequencer. Whereas much of Angst works well with a drum machine, Schulze's 1970s work was designed with a live drummer in mind (excepting those songs without percussion). So the drum machine on a track like "Opheylissem" seems out of place. Indeed, Harald Großkopf, the drummer on many Schulze's best works is missed on Angst, although percussionist Michael Shrieve accompanies the drum machine on four of the tracks here.

So Audentity is a mixed bag. Roughly half of the pieces represent kind of a dry run for Angst, while the other half document several aspects of the artist's transition from analog to digital. I generally don't criticize the length of Schulze's albums, but here's a case where a single album would've almost certainly been better than a double. And oddly enough, it's also a case where Schulze took his time - - he recorded his prior album, Trancefer, in the summer of 1981, and did not begin recording Audentity until the fall of 1982.

Anyway, not a bad album, but an inconsistent one.

*The hourlong bonus track "Gem," which is comprised of four parts, is pretty good, especially the "Tiptoe on the Misty Mountain Tops" section, which is somewhat Angst-like.

**It's interesting, and beyond the scope of this review, that the sequence Schulze uses in the latter part of "Sebastian im Traum" is recycled as "Freeze" on Angst.

 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.77 | 121 ratings

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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.

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

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