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KLAUS SCHULZE

Progressive Electronic • Germany


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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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Big In Europe Vol. 2: Amsterdam (2 CD + 2 DVD)Big In Europe Vol. 2: Amsterdam (2 CD + 2 DVD)
Made In Germany 2014
Audio CD$23.47
La Vie Electronique 15La Vie Electronique 15
MADE IN GERMANY MUSI 2014
Audio CD$15.91
$15.91 (used)
La Vie Electronique Vol.7La Vie Electronique Vol.7
Box set
MADE IN GERMANY MUSI 2012
Audio CD$15.13
$12.20 (used)
DreamsDreams
Import
Thunderbolt 1996
Audio CD$10.20
$1.29 (used)
Dresden ConcertDresden Concert
Venture / Caroline 1991
Audio CD$39.58
$33.37 (used)
La Vie Electronique II (3 CD)La Vie Electronique II (3 CD)
Box set
REVISITED RECORDS 2009
Audio CD$13.96
$11.00 (used)
En TranceEn Trance
Remastered
Revisited Records 2005
Audio CD$20.23
$16.99 (used)
Miditerranean PadsMiditerranean Pads
Remastered
Revisited Records 2005
Audio CD$30.51
$15.99 (used)
GoGo
Import · Remastered
Esoteric 2008
Audio CD$10.78
$15.99 (used)
Right Now on Ebay (logo)
Klaus Schulze - Dune - CD - New US $6.42 [2 bids]
1h 28m
Stomu Yamashta Klaus Schulze Winwood Meola Go Live from Paris US 2 LP US $20.00 Buy It Now 1h 32m
Ballett 3 by Klaus Schulze (CD, May-2007, Revisited (Germany)) US $14.98 Buy It Now 2h 51m
KLAUS SCHULZE Mirage Japan CD OBI '95 POCP-2381 US $20.50 [9 bids]
3h 4m
Klaus Schulze/Pete Namlook Dark Side of the Moog VIII (VG+ CD - Fax 1999) US $32.50 [0 bids]
US $50.00 Buy It Now
3h 26m
KLAUS SCHULZE mirage ( rock ) - uk - US $17.99 Buy It Now 3h 41m
KLAUS SCHULZE trancefer ( rock ) - germany - US $14.99 Buy It Now 3h 48m
DUNE BY KLAUS SCHULZE BRAIN CD EARLY W GERMANY BLACK LABEL 811 842-2 METRONOME US $25.00 [0 bids]
4h 44m
KLAUS SCHULZE - LA VIE ELECTRONIQUE 2 [DIGIPAK] - NEW CD BOXSET US $16.92 Buy It Now 4h 56m
Moondawn Klaus Schulze~1976 Experimental Electronic~French Import~FAST SHIPPING! US $21.95 Buy It Now 5h 35m
KLAUS SCHULZE~ MINDPHASER~ RARE IIMPORT WEST GERMANY US $29.99 Buy It Now 6h 3m
Klaus Schulze : Trancefer [European Import] CD (2004) US $13.27 Buy It Now 10h 47m
KLAUS SCHULZE The Best Of . SPV 0171-2 *DK & Moon Records CD new US $24.90 Buy It Now 12h 19m
Klaus Schulze Dune German Brain Orig LP US $16.08 [0 bids]
12h 48m
Klaus Schulze And Lisa Gerrard - Big In Europe Vol. 2 - Amsterdam (NEW 2CD+DVD) US $35.36 Buy It Now 14h 45m
Double Fantasy UNIVERSAL AVE IC cd Robert Schroeder Klaus Schulze Software US $11.99 Buy It Now 15h 5m
Alpha Wave Movement 4cd Set2 New Space Music Klaus Schulze John Serrie Ashra Eno US $29.99 Buy It Now 15h 5m
Klaus Schulze - Shadowlands (DIGIPACK 2013)***NEW+SEALED** US $9.65 [0 bids]
15h 59m
Przemyslaw Rudz Cerulean Legacy Klaus Schulze Tangerine Dream Christopher Franke US $9.99 [0 bids]
16h 58m
Klaus Schulze - Richard Wahnfried's Miditation - MIG00632 US $18.85 Buy It Now 17h 30m
Klaus Schulze Rainer Bloss - Dziekuje Poland - Double Cassette 1984 Poland US $75.00 Buy It Now 18h 40m
CONTROL VOLTAGE APEX 1986 CASSETTE RMI Ramp Klaus Schulze Tangerine Dream US $7.07 [0 bids]
21h 20m
CONTROL VOLTAGE OFF WORLD 1987 CASSETTE RMI Ramp Klaus Schulze Tangerine Dream US $7.07 [0 bids]
21h 22m
KLAUS SCHULZE Mindphaser Brain 0060.423 Electronic Prog German LP SEALED US $40.00 Buy It Now 22h 25m
KLAUS SCHULZE BLACKDANCE ORIGINAL OG GERMAN GREEN BRAIN 1051 PROG PSYCH RARE LP US $9.99 [0 bids]
23h 18m
X by Klaus Schulze (CD, Sep-1996, 2 Discs, Magnum America) US $45.99 Buy It Now 1 day
KLAUS SCHULZE - SHADOWLANDS NEW CD US $20.69 Buy It Now 1 day
KLAUS SCHULZE: Body Love LP (Germany) Rock & Pop US $20.00 Buy It Now 1 day
KLAUS SCHULZE Moon Dawn PROMO gatefold VG+ LP US $24.63 Buy It Now 1 day
KLAUS SCHULZE / LISA GERRARD - FARSCAPE NEW CD US $25.02 Buy It Now 1 day
ROBERT SCHROEDER Brain Voyager CD DEU Tangerine Dream Edgar Froese Klaus Schulze US $14.99 [0 bids]
US $19.99 Buy It Now
1 day
Klaus Schulze - Royal Festival Hall Volume 2 US $12.95 [0 bids]
1 day
Klaus Schulze & Pete Namlook - Dark Side of the Moog VII (FAX Label) US $39.95 [0 bids]
1 day
Klaus Schulze - Live @ Klangart CD2 (missing front insert) US $7.95 [0 bids]
1 day
Used LP Michael Shrieve w Kevin Shrieve & Klaus Schulze ?- Transfer Station Blue US $21.99 [0 bids]
1 day
Klaus Schulze/Cyborg/Brain GF DBL LP/Synth/Germany/Electro/Trance US $9.95 [0 bids]
1 day
Klaus Schulze - Vol. 9-La Vie Electronique CD US $22.71 Buy It Now 1 day
Klaus Schulze - Vol. 11-La Vie Electrinique CD US $23.46 Buy It Now 1 day
KLAUS SCHULZE PICTURE MUSIC DUTCH PRESS ARIOLA 27 583 XAT US $14.99 Buy It Now 1 day
KLAUS SCHULZE Trancefer LP 2 Track (djf20579) UK Djm 1981 US $13.99 Buy It Now 1 day
KLAUS SCHULZE - Body Love - Vinyl LP US $28.93 Buy It Now 1 day
Klaus Schulze - Shadowlands [CD New] US $14.70 Buy It Now 1 day
Slip Album: Klaus Schulze : Virtual Outback US $12.09 [0 bids]
1 day
CENTURYS END 'SEARCH' CD NEW - TANGERINE DREAM / KLAUS SCHULZE US $1.67 [2 bids]
1 day
KLAUS SCHULZE Cyborg + BONUS JAPAN Mini LP 2 CDs Gtfd ARC-7264/65 NEW Orig. 2007 US $79.99 Buy It Now 1 day
KLAUS SCHULZE Dune + BONUS Track JAPAN Mini LP CD ARC-7278 NEW Orig. 2007 US $59.99 Buy It Now 1 day
KLAUS SCHULZE X 1978 RARE Double Vinyl Vintage Record album FRIEDRICH NIETZSCHE US $59.99 [0 bids]
US $111.11 Buy It Now
2 days
KLAUS SCHULZE Picture Mus + BONUS Track JAPAN Mini LP CD ARC-7267 NEW Orig. 2007 US $59.99 Buy It Now 2 days
KLAUS SCHULZE-BLACKDANCE-1974 Virgin (UK) LP-Rare original Gatefold cover!!! US $18.98 [0 bids]
US $24.98 Buy It Now
2 days
Klaus Schulze ?- Timewind, 12" Vinyl LP Album US $5.00 [0 bids]
2 days
Michael Shrieve with Kevin Shrieve and Klaus Schulze ?- Transfer Station Blue US $20.00 [0 bids]
2 days
klaus schulze audentity lp japan US $24.99 Buy It Now 2 days
Drive Inn by Klaus Schulze (CD, Sep-2002, Thunderbolt (UK)) US $3.00 [0 bids]
US $5.00 Buy It Now
2 days
Klaus Schulze Ernst Fuchs Rainer Bloss Aphrica LP German Pressing InTeam New Age US $9.99 [0 bids]
2 days
KLAUS SCHULZE-DIG IT-Orig W. German Brain Records LP w/Inner sleeve; VG+/VG+!!! US $9.98 [0 bids]
US $12.98 Buy It Now
2 days
Klaus Schulze "Body Love" Soundtrack LP NEAR MINT- Metronome Germany 1977 US $34.99 Buy It Now 2 days
KLAUS SCHULZE "Picture music" French Isadora near mint LP US $79.99 Buy It Now 2 days
KLAUS SCHULZE Fuchs + Bloss "APHRICA" LP rare Krautrock US $54.99 Buy It Now 2 days
Klaus Schulze LP Mirage UK Island NM/NM US $34.99 Buy It Now 2 days
KLAUS SCHULZE / GUNTER - SCHULZE SCHICKERT - SCHULZE-SCHIKERT SESSION NEW CD US $40.51 Buy It Now 2 days
Klaus Schulze - Vol. 3-La Vie Electronique CD US $21.86 Buy It Now 2 days
Klaus Schulze - Richard Wahnfrieds Tonwelle CD US $17.65 Buy It Now 2 days
Klaus Schulze - Shadowlands NEW CD US $21.55 Buy It Now 2 days
Patrick Kosmos Virtual Reality OOP Tangerine Dream Klaus Schulze Mo US $39.99 Buy It Now 2 days
Klaus Schulze & Andreas Grosser ?- Babel (CD 1987) ELECTRONIC /UK Pressing US $14.47 [0 bids]
2 days
Original 1978 West German Brain double LP Klaus Schulze " X " ; includes booklet US $21.99 Buy It Now 2 days
KLAUS SCHULZE - LA VIE ELECTRONIQUE, VOL. 11 [BOX] - NEW CD US $16.96 Buy It Now 2 days
Original 1977 West German Brain LP Klaus Schulze " Body Love " soundtrack US $17.60 Buy It Now 2 days
Klaus Schulze - Dreams (CD 1995) NEW US $24.09 Buy It Now 2 days
KLAUS SCHULZE BODY LOVE VOL 2 PROG MEDITATIONAL SYNTH SPACE GERMAN PRESS US $16.97 Buy It Now 2 days
KLAUS SCHULZE New Sealed Ltd Ed 2014 X 2 VINYL RECORD SET US $39.99 Buy It Now 2 days
KLAUS SCHULZE Irrlicht Orig OHR LP 1972 TANGERINE DREAM Rare Kraut US $31.99 Buy It Now 2 days
Klaus Schulze - La Vie Electronique 14 (NEW CD) US $28.53 Buy It Now 2 days
MUSIC WITHOUT FRONTIERS LP 1988 (VENTURRE 90659) Klaus Schulze, Darryl Way US $5.00 Buy It Now 2 days
Klaus Schulze LP lot: DIG IT, DZIEKUJE POLAND, ANGST Tangerine Dream Cluster US $39.95 Buy It Now 2 days
ULTRA RARE Klaus Schulze TRAILER CD (1999) Tangerine Dream Ashra Popol Vuh US $99.95 Buy It Now 2 days
Klaus Schulze SILVER, HISTORIC, and JUBILEE EDITION BOX SETS (Tangerine Dream) US $1,120.00 Buy It Now 2 days
lot of 6 DVDs by Tangerine Dream, Klaus Schulze & Lisa Gerrard (Dead Can Dance) US $69.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: Andy Pickford TERRAFORMER US $29.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: Andy Pickford MALESTROM US $29.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: Andy Pickford DYSTOPIA US $29.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: IS ANYBODY OUT THERE...? US $19.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: Paul Lawler BRONX AGE US $49.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze) Clones: Paul Nagle FIREDANCER US $19.95 Buy It Now 2 days
Attack of the (Tangerine Dream Klaus Schulze Node) Clones: Redshift COLDER US $29.95 Buy It Now 2 days
Klaus Schulze BLACKDANCE LP (1982) with OBI and INSERT Virgin Japan VIP 4173 US $39.95 Buy It Now 2 days
Don Carlos - Prophecy Audio CD Klaus Schulze, British Import, Tangerine Dream Th US $5.17 Buy It Now 3 days
GO Live From Paris STEVE WINWOOD,AL DIMEOLA, KLAUS SCHULZE Santana Traffic US $3.99 Buy It Now 3 days
TANGERINE DREAM Live Miles CD Castle Rmstr PROG (Edgar Froese, Klaus Schulze) US $9.99 [0 bids]
US $12.99 Buy It Now
3 days
KLAUS SCHULZE 2LP STAR ACTION GERMAN PRESS on BRAIN Reocrds MINT US $19.99 Buy It Now 3 days
KLAUS SCHULZE SEXY NUDE COVER BODY LOVE -TANGERINE DREAM US $1.99 [0 bids]
3 days
Klaus Schulze - Le Moulin De Daudet NEW CD US $21.57 Buy It Now 3 days
KLAUS SCHULZE - LA VIE ELECTRONIQUE, VOL. 6 [DIGIPAK] - NEW CD US $16.96 Buy It Now 3 days
Germany ADELBERT VON DEYEN Dieter Schütz Inventions LP 1982 SKY082 KLAUS SCHULZE US $49.88 Buy It Now 3 days
Alpha Wave Movement Horizons Ozrics Tentacles TD Klaus Schulze Ashra Floyd Z US $12.99 Buy It Now 3 days
FAR EAST FAMILY BAND Nipponjin LP Psych/Prog RARE JAPANESE press! Klaus Schulze US $99.99 Buy It Now 3 days
KLAUS SCHULZE&ANDREAS GROSSER BABEL VIRGIN VE5 UK pressing Vinyl LP US $0.99 [0 bids]
3 days
klaus schulze PICTURE MUSIC JAPAN MINI LP CD US $69.99 [0 bids]
3 days
GILLES ZEITSCHIFF - Cosmic Jokers, Ash Ra Tempel, Klaus Schulze - Rare, Sealed! US $75.00 [0 bids]
4 days
Klaus Schulze - Mirage Japan LP w/OBI Promo White Label US $39.99 Buy It Now 4 days

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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)

3.44 | 101 ratings
Irrlicht
1972
3.75 | 97 ratings
Cyborg
1973
3.29 | 87 ratings
Blackdance
1974
3.72 | 68 ratings
Picture Music
1975
4.16 | 185 ratings
Timewind
1975
3.69 | 126 ratings
Moondawn
1976
4.26 | 197 ratings
Mirage
1977
4.10 | 81 ratings
Body Love: Original Filmmusik
1977
4.03 | 80 ratings
Body Love Vol. 2
1977
4.16 | 183 ratings
X
1978
3.22 | 61 ratings
Dune
1979
3.03 | 50 ratings
Dig It
1980
3.20 | 36 ratings
Trancefer
1981
3.40 | 60 ratings
Audentity
1983
2.75 | 27 ratings
Angst (soundtrack )
1984
2.19 | 17 ratings
Drive Inn (with Rainer Bloss)
1984
1.65 | 12 ratings
Aphrica (with Rainer Bloss & Ernst Fuchs)
1984
2.79 | 26 ratings
Inter Face
1985
2.57 | 26 ratings
Dreams
1986
2.97 | 21 ratings
Babel
1987
3.62 | 34 ratings
En=Trance
1988
2.24 | 24 ratings
Miditerranean Pads
1990
3.02 | 23 ratings
Beyond Recall
1991
2.17 | 16 ratings
Le Moulin de Daudet
1994
2.53 | 13 ratings
Namlook & Schulze: Dark Side of the Moog
1994
2.43 | 11 ratings
Goes Classic
1994
1.24 | 10 ratings
Totentag
1994
2.90 | 13 ratings
Namlook & Schulze: Dark Side of the Moog II
1995
2.88 | 13 ratings
Namlook & Schulze: Dark Side of the Moog III
1995
3.60 | 41 ratings
In Blue
1995
2.54 | 12 ratings
Namlook and Schulze: The Dark Side Of The Moog IV
1996
3.00 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog V
1996
3.21 | 25 ratings
Are You Sequenced?
1996
2.44 | 15 ratings
Dosburg Online
1997
3.45 | 15 ratings
Namlook and Schulze: The Dark Side Of The Moog VI
1997
3.63 | 16 ratings
Namlook and Schulze: The Dark Side Of The Moog VII
1998
2.14 | 11 ratings
Namlook and Schulze: The Dark Side Of The Moog VIII
1999
3.00 | 12 ratings
Namlook and Schulze: The Dark Side Of The Moog IX
2002
2.90 | 12 ratings
Namlook and Schulze: The Dark Side Of The Moog X
2005
3.41 | 37 ratings
Moonlake
2005
3.43 | 7 ratings
Vanity of Sounds
2005
3.20 | 5 ratings
The Crime of Suspense
2006
3.10 | 10 ratings
Ballett 1
2006
2.83 | 6 ratings
Ballett 2
2006
3.00 | 6 ratings
Ballett 3
2007
2.86 | 7 ratings
Ballett 4
2007
3.85 | 58 ratings
Kontinuum
2007
3.58 | 39 ratings
Farscape (with Lisa Gerrard)
2008
3.77 | 11 ratings
Namlook and Schulze: The Dark Side Of The Moog XI
2008
3.73 | 7 ratings
Virtual Outback
2008
3.52 | 22 ratings
Shadowlands
2013

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

3.11 | 27 ratings
Live
1980
3.24 | 28 ratings
Dziekuje Poland (with Rainer Bloss)
1983
3.29 | 14 ratings
The Dresden Performance
1990
3.71 | 12 ratings
Royal Festival Hall Vol. 1
1992
3.83 | 16 ratings
Royal Festival Hall Vol. 2
1992
3.13 | 13 ratings
The Dome Event
1993
3.05 | 11 ratings
Das Wagner Desaster-Live-
1994
3.86 | 7 ratings
Live @ KlangArt 1
2001
3.50 | 6 ratings
Live @ KlangArt 2
2001
3.23 | 15 ratings
Rheingold - Live at the Loreley
2008
3.71 | 7 ratings
Live @ KlangArt
2008
3.16 | 12 ratings
Dziekuje Bardzo - Vielen Dank
2009
3.08 | 12 ratings
Big in Japan
2010

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

3.93 | 9 ratings
Rheingold - Live At The Loreley
2008
3.40 | 5 ratings
Dziekuje Bardzo
2009
3.67 | 3 ratings
Big in Japan
2010

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

3.00 | 3 ratings
2001
1991
3.00 | 3 ratings
Silver Edition
1993
3.21 | 5 ratings
The Essential: 72-93
1994
3.69 | 13 ratings
Historic Edition
1995
3.40 | 5 ratings
Jubilee Edition
1997
1.00 | 2 ratings
Trailer
1999
4.00 | 6 ratings
The Ultimate Edition
2000
3.00 | 6 ratings
Contemporary Works I
2000
3.00 | 5 ratings
Contemporary Works II
2002
3.37 | 11 ratings
La Vie Electronique 1
2009
3.82 | 14 ratings
La Vie Electronique 2
2009
2.81 | 12 ratings
La Vie Electronique 3
2009
3.06 | 11 ratings
La Vie Electronique 4
2009
3.18 | 9 ratings
La Vie Electronique 5
2010
3.85 | 15 ratings
La Vie Electronique 6
2010
2.26 | 8 ratings
La Vie Electronique 7
2010
3.43 | 7 ratings
La Vie Electronique 8
2010
2.83 | 6 ratings
La Vie Electronique 9
2011
2.83 | 6 ratings
La Vie Electronique 10
2011
2.20 | 5 ratings
La Vie Electronique 11
2012
3.60 | 10 ratings
La Vie Electronique 12
2012
3.86 | 12 ratings
The Schulze-Schickert Session
2013

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

2.33 | 6 ratings
Come Quietly - with Lisa Gerrard
2009

KLAUS SCHULZE Reviews


Showing last 10 reviews only
 Beyond Recall by SCHULZE, KLAUS album cover Studio Album, 1991
3.02 | 23 ratings

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Beyond Recall
Klaus Schulze Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars The more modern works of genre-defining German electronic composer Klaus Schulze have been a bit of a mixed bag to discover. His 23rd solo release from 1991, `Beyond Recall', sees the artist incorporating modern techniques and equipment, delivering what frequently works as a satisfying, if occasionally frustrating chill-out ambient work. Only a few annoying samples incorporated in a seemingly random manner (although I'm sure all these were actually carefully implemeted by the artist at key points) prove to be a little distracting, as does an over-reliance on cliched tribal elements. Yet Mr Schulze still finds ways to bridge enough of his usual ambient sounds of old, those long flowing pieces that gradually unfold and envelope the listener, into this modern age, and there's some intriguing results to discover.

The focal point of the disc is the opening 27 minute `Gringo Nero', Schulze utilizing acoustic guitar samples to quite dazzling effect, bringing an almost old dusty western cinematic quality and taking on sweeping symphonic themes. Lightly pulsing programmed beats and gentle synths bring a flowing breezy New Age sound, with diverting tribal flavours in the middle and a couple of darker, more urgent passages as well. There's occasional interjections of screeching groaning animals, chanting, chirping wildlife and vocal snippets that intrude on the dramatic build growing throughout, and the piece would have been even more successful without them. Even better is the gloomy dark cinematic soundtrack `Trancess'. Gothic piano, oppressive monolithic cold synths, groaning cello samples, a ghostly operatic female vocal and a welcome (if brief) return of the eerie Mellotron. There's a malevolent, spectral quality to this nightmarish piece that makes it darkly exquisite.

The aptly titled `Brave Old Sequence' closely resembles the Schulze of old. A chiming programmed pattern skitters over an icy crystalline electronic atmosphere, murmuring bass seeping along the background and sighing synth harmonies inhaling and exhaling, reaching a breathless urgent climax. After opening with floating placid washes of keyboards and cascading cloudburst synths that fall like shooting stars from the night sky, the undemanding `The Big Fall' simply offers more tribal ambience. Predominately piano driven with soft pattering beats, even slightly jazzy, the piece is quite warm and comforting, but a little too lightweight and obvious to be truly engaging. Tribal elements again come to the fore throughout `Airlight', completely devoid of percussion or beats, instead being a collage of different themes with plenty of growing unsease. Melancholic cello samples and synths that rise around piano middle section take on an almost cooing female vocal quality are the highlight, but there's not much to lift it above being a mildly curious background listen.

Mr Schulze certainly tries new sounds on this one, moving with the times and still experimenting, but there are simply endless more involving and interesting albums from the artist that should be recommended over this one. It's certainly more demanding, complex and challenging than the bland muzak dreck that fellow electronic masters Tangerine Dream have sometimes offered in this modern era, but it's never completely engrossing or rewarding. While it's frequently subtle, some of the tribal elements get a little tedious in spots, meaning the 77 minute running time will really test patience levels. I think many listeners may find the album is to be admired rather than totally enjoyed.

`Beyond Recall' is definitely a respectable release from the electronic pioneer, but all but die-hard followers of the artist should try elsewhere in his extensive discography of more fully rewarding releases before looking into this one.

Still, three stars...and I have to admit, I am rather smitten with the charming peaceful cover artwork!

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 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.72 | 68 ratings

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Picture Music
Klaus Schulze Progressive Electronic

Review by Stalvern

4 stars

Schulze's first true expression of his classic sequencer style (Blackdance was a step toward it, but it still relied heavily on the organ and Mellotron tones of his first two albums), and easily worthy of the attention given his more popular subsequent releases. The sound is stripped down from the shadowy haze of before, but the reduced instrumentation never sounds inadequate; Schulze's talent for atmosphere is as clear on this album as ever. And the music itself, even at this early stage, is some of his most engaging work ever.

The first side, "Totem", is absolute brilliance. There are only about three or so melodic lines playing at any given point - and on the monophonic synthesizers of the day, no chords to speak of - but they're executed masterfully. The main voice is a drippy, echoing tone that sounds about twenty years ahead of its time, the kind of sound that you'd expect from Autechre or Aphex Twin in the mid-'90s (!), picking out a dark, jagged theme that matches it perfectly, with muted moans and whistles ominously backing it. Analyzed and written out, it comes off as somewhat sparse, but the tones are chosen and mixed to maximum effect - the music's atmosphere is disproportionately vast, bringing up images of the lightless life at the floor of an ocean trench, or maybe astronauts at the edge of their life support against the black void of deep space. It is structured, building into fullness, then rising into a heavy climax before trailing off in a weary coda, but that atmosphere is never compromised by these developments. It's funny that Schulze would wait until now to call his work "picture music", given that impressions and images had always been his main focus, but the phrase is hardly undeserved.

After "Totem", "Mental Door" is a bit of a letdown, but it's still great. It's Schulze jamming against himself, blazing Moog lines fighting manic drumming (his first recorded performance on the kit since Electronic Meditation and sounding none too friendly after being pent up for five years), and this works for and against the album. For, because this kind of energy is always welcome, especially as a counterpoint to the hanging menace of the first side, but against, because after emerging from its foggy introduction, it abandons any hint of atmosphere in favor of that energy, which is disappointing coming from a musician like Schulze. (He'd eventually get both together for X's "Friedrich Nietzsche" and "Frank Herbert", putting this song's one-sidedness into further perspective.) But what Schulze does here he does to the fullest, never once letting up for the entire jam, and never forgetting to keep things varied and interesting. (His coolest trick is to punctuate it every once in a while with a sustained keyboard note while bashing out a straight rhythm on the cymbals; the effect is a bit like the appearances of the little electric piano motif in Miles Davis's "Spanish Key", but aggressive instead of amiable.) When the end eventually comes, it releases the jam's mounting tension in a final cymbal crash and high note (tragically not quite synchronized, but I don't see how Schulze could have fixed that in a tape edit without bringing the rest of the ending out of sync) before settling into a relaxed, fulfilled coda, closing out the album.

It's understandable that Picture Music has something of a low profile among Schulze albums, lacking Timewind's lushness or X's scale (or even the cult appeal of Irrlicht and Cyborg), and generally denied its rightful historical significance in favor of Blackdance ever since the chronology was resolved, but it'll always be a favorite of mine. Hopefully, someday, people will give it its due.

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 Moondawn by SCHULZE, KLAUS album cover Studio Album, 1976
3.69 | 126 ratings

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Moondawn
Klaus Schulze Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars Solo album number six from master synthesist Klaus Schulze marked his arrival above ground after half a decade of subterranean electronic experimentation. His previous "Timewind" had been an overdue breakout hit, and Schulze took full advantage of his newfound stardom by investing in a lot of shiny new toys and tailoring his sometimes inscrutable sound closer to popular tastes.

It was the first KS album to utilize "the big Moog" (in his own words); his first professional multi- track recording; his first in a series of fruitful collaborations with Wallenstein drummer Harald Grosskopf (a comrade from R.U. Kaiser's notorious Cosmic Jokers sessions that same year). And, perhaps not coincidentally, it was also the first time he allowed himself to fall into some lazy compositional habits. The entire album was, believe it or not, recorded in a single evening: a small miracle of spontaneity at a time when Prog Rock LPs were frequently months in the making. On the other hand, a little more forethought might have yielded music of greater depth and interest.

The lush, almost symphonic production makes the album opener "Floating" a joy to hear. But a sense of monotony creeps into the set long before the initial jam finally ends, on an unresolved fade-out after 27-minutes of less than spellbinding sequencer patterns. The 2005 Revisited Records CD edition adds an alternate take of the same material, but the final effect in either version is more repetitive than hypnotic.

The 25-minute "Mindphaser" then tries to integrate the spacier effects of other Klaus Schulze albums into a more contemporary mid-'70s sound, with mixed results. The live drumming adds a much-needed human spark to some otherwise humdrum programming. But the inorganic transition between Space and Space Rock is awkward, and his long solo on the big Moog sails at times very near the shoals of Wakemanesque tackiness.

"This record", wrote Schulze in the original LP notes, with a disarming lack of syntax, "opened another door I wanted to go through since years?the rock music." You would think he had more than enough of the rock music while in Ash Ra Tempel, or after the Cosmic Jokers debacle. And by 1976 that same door had long been open to an already crowded room full of synthesized rockers. But the end result was his biggest seller to date, perhaps because of its easy-on-the-ears simplicity and lack of otherworldly edge.

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 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.72 | 68 ratings

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Picture Music
Klaus Schulze Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars Klaus Schulze's fourth studio album (not his third, but that's an old story by now) was a bit of a schizoid affair, contrasting some of the composer's strongest work to date with some of his weakest, over each side of the original vinyl. The opening "Totem" is a classic piece of otherworldly electronics: twenty-three hypnotic minutes of gently percolating synthesizers overlaid with Schulze's intuitive brain- wave soloing. It might sound a little static at times, but the total effect is equally soothing and unsettling, with a subtle undercurrent of tension built into the ominous background radiation of quietly bubbly rhythms, slowly gaining momentum but never rising to the expected boil.

The flipside "Mental Door" was a different trip entirely, and the first attempt by KS to incorporate rock music dynamics into his usual outer-space explorations (his previous album "Blackdance" was likewise heavily rhythmic, but with a stark uniformity of performance suggesting a machine). "Mental Door" isn't entirely convincing, in retrospect. The opening atmospherics are compelling, but the track soon devolves into something entirely too earthbound, at least when compared to the uncanny vistas of his earlier "Irrlicht" or "Cyborg".

Give Schulze credit for trying to reconcile two very different musical traditions (modern rock and avant- garde electronics), and in a more challenging, improvisational manner than the supercharged pomp of an Emerson or Wakeman. But he would need a few more years of careful refinement (on the "Body Love" soundtracks, and his mammoth "X" double-disc) to finally resolve the issues raised here, notably the insecure noodling using what must have been a trendy synth-patch at the time, factory fresh in 1973 but turning to stale cheese shortly afterward.

Thankfully the 2005 Revisited Records CD edition balances the lopsided original LP by including an even longer alternate take of "Totem", bringing the album full circle but with slight variations (the mirror image of the epilogue is equally fascinating if a little less exquisite in reflection). The symmetry of the CD re-issue is appreciated. But in the end the album remains a lesser effort from a tireless pioneer, on the road to far greater things.

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 The Schulze-Schickert Session by SCHULZE, KLAUS album cover Boxset/Compilation, 2013
3.86 | 12 ratings

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The Schulze-Schickert Session
Klaus Schulze Progressive Electronic

Review by admireArt

4 stars Two languages merge as one, but not a "third" appears.

I have been, listening to this record since I got it early this year. I have to confess, I was expecting somehow, or a more balanced musical "language" between 2 electronic composers, or more "electric-guitars" from Schickert, at least. But that was a "fantasy", reality speaks louder.

These two guys respect each other too much, so they let their drives go in small "dossages", cautiously. The eventual flow of events, trigger a possible third spectrum, but performance like talking, these 2 guys, never step on each other's foot. Therefore, more than a "meeting of minds musical experiment", I come to terms with the idea of a Klaus Schulze album, who has as a guest Gunther Schickert. Of course by "guest" I don't mean invisible, Schickert is there, but I did expect more of his "electric guitar frenzy".

Not being the case, Schulze "language" predominates most of the musical transitions, through the first song or session, as it is called in this re-release in CD (2013) of an original and limited, 1975 release on tape. (When tapes were the "future",.. with time, the physical materials of cassettes, became obsolete). So the mere fact that this very "talked about" "sessions", were at last released in "today's" format as such, is a real thrill.

The second song, as the third, were added to this re-release, "Spirits of the Dead" and "Happy Country Life". Both, upgrade this work from mere great, to "I will keep it". Both compositions remind me of Laraaji's musical language, but these sessions, as told, were recorded in 1975. (Laraaji, came notable, around 1980, with Brian Eno's, second Ambient record, "Day of Radiance"). Anyway, they save the day with a wild set of electronics, and a shadow of 'droning" white noise, which makes the compositional structure move in other stylistic directions. And of coures, it also comes close to the already developed, Steve Reich's minimal "dymamic"structures. (the final section, of the third song to be specific.)

Well, the rating goes like this. Expect more a combined and balanced performance (even "sober" I will add), like a performer's approach to already perfectly written compositions, with touches of daring experimentation here and there, rather than all "electronic music experiments", recording session. Closer to Schulze's side of composition, than Schickert's.

And since I've been listening to it, it still holds a bag of "underlying' surprises.......

****4 (flat) PA stars. (For any kind of "P/E" followers, not that sure about the rest.)

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 Royal Festival Hall Vol. 2 by SCHULZE, KLAUS album cover Live, 1992
3.83 | 16 ratings

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Royal Festival Hall Vol. 2
Klaus Schulze Progressive Electronic

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Schulze's dark gothic erotic fantasy?

I picked up Klaus Schulze's `Royal Festival Hall: Volume 2' for $10 at a recent local record fair, and I had no real excitement to give it a listen. When I headed into that fair, I was determined to come away with an electronic related release, and this was to be my sole find that day. I had never heard a 90's Schulze release, and I expected to find a once innovative artist well past his prime, working in wishy-washy New Age dreck with charmless digital synths and zero inspiration. I also expected this live album to be nothing but lazy and uninteresting live performances of existing pieces. What I discovered was neither of those things, rather it contained a thought-provoking, controversial and exploratory work that will be a shock to many fans of his more well-known defining 70's releases.

Consisting of a live continuous 45 minute, 7 part seamless suite as well as an additional two extended tracks in the same style, these pieces take Schulze into the darkest recesses more along the lines of his sinister masterpiece `Blackdance'. Bridging the unending flowing and unwinding atmosphere of his landmark 70's albums, while incorporating then modern influences from progressive techno artists such as The Orb, it's his willingness to embrace current styles while respecting what made him so unique in the first place that makes this album so refreshing, and not merely a rehash of stale ideas and repetition of past achievements. The epic piece `Ancient Ambience' showcases Schulze at his most ambitious, experimental and even unpleasant, sure to make some listeners very uncomfortable. I can only offer my interpretation after numerous listens, and I'd be interested to know what other listeners come up with.

`Ancient Ambience' opens with a nine minute collage of eerie and unnatural animal cries, blowing creaking winds and distorted nature sounds, the slightest of synths washing the background. We accompany our female traveller as she moves through this black jungle with a sense of discovery and fascination, all the while unease keeping her on her guard. Chimes, gothic choirs, and the smacking of demonic lips filter through as dark unseen forces start to claw at our heroine. The first twinkling beats and imperial synths finally begin to enter, raising the drama as this ungodly presence starts to wrap it's way around her, a sense of panic with just a hint of curious fascination rising to the surface. Orgasmic female moaning, hissing shadows as the beats grow in tempo and urgency, slowing down, speeding up, back and forth like a mix of exquisite pleasure and unending pain. Over and over she is physically, emotionally, mentally, sexually worn down, a sense of exhaustion, disbelief, defeat and finally acknowledgement of how futile resistance truly is against overwhelming odds. Racing beats attack, tribal in their violent fury, full of thrashing lust and exquisite assimilation. But just a taste was all that was needed, and now our dark heroine craves `more'. Subtle murmuring bass and heart-quickening pulses as lust has turned to greed, eyes darting wildly searching for another fill, desperation taking over. Such a glimpse of unexplored potential, too late for the bleating terrified predators now become the prey. Confusion and disorientation moves through them. `You mean that's it?' she poses to them, before lunging in attack. Cowering in her presence, seeping back into the shadows to try unsuccessfully to escape her wrath, the new dark queen races through the land, consuming them all, growing in strength, no longer the victim. More, more, enough is never enough, shredding all before her into submission. She casts a final arrogant eye over her new kingdom and her fallen subjects, the final murmur that escapes her wicked lips more devilish than human. The frantic 10 minute climax of this gothic soundscape is just as good as anything to be found on Schulze's 70's peak albums, full of bristling percussion variety, dazzling synth/electric piano runs, swirling aggressive electronic assaults and pounding dance disorientation.

The 11 minute additional live track `Anchorage' carries on in the same style as the long piece, likely containing themes and passages that didn't initially fit into the first grand arrangement. The same female moaning and scratching animalistic noises weave around soft synth ebbing washes that quickly become quite cinematic, lonely downbeat sax and a heart-racing programmed pulse. The glistening beats grow in tempo and tension as the piece progresses, before ending on a booming and twisted piano crash. The disc then concludes on `Variation on B.F', an 11 minute studio piece that was intended to be played as an encore for the above live shows but dropped due to time constraints. A very imperial, oddly reflective and bombastic piano/synth solo piece with almost no percussive elements, haunting wordless female vocal and cello samples, truly monolithic and imposing in it's intensity, and it perfectly fits in with the other two compositions offered here.

If there is even the slightest chance Mr Schulze may read this review, I apologize in advance if my admittedly risky and questionable interpretation of his work here is completely wrong and at odds with what he was really out to achieve. But I also feel that this represents exactly what complex and challenging electronic music should be - completely immersive, emotional and truly open to interpretation. The original pieces presented here showcase a pioneering electronic artist still pushing himself and his listeners, constantly exploring, experimenting and moving forwards. `Royal Festival Hall: Volume 2' likely won't be an album you'll play over and over, and there are numerous, more important Schulze releases to explore before this one, but those who take the time to persist and listen closely to it's contents may discover a very unique and confronting work.

Four stars.

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 Shadowlands by SCHULZE, KLAUS album cover Studio Album, 2013
3.52 | 22 ratings

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Shadowlands
Klaus Schulze Progressive Electronic

Review by memowakeman
Special Collaborator Honorary Collaborator

4 stars Review originally posted at www.therocktologist.com

Lately I've been into Schulze's work with Lisa Gerrard, which to my ears is pure beauty, a wonderful combination of those endless electronic nuances and the also endless emotions powered by her voice, but I am actually a fan of Klaus' music as solo, so when I realized this 2013 he had released a new album, I couldn't wait to listen to it, the result is what he uses to offer, long songs, a salad of sounds merged into a saucerful of textures made by synthesizers.

Only 75 minutes of progressive electronic can be appreciated here, but wait, if you managed to get the special edition then you will have an extra CD with two songs that have almost the same length, I assume this music is not for everyone, because one can easily fall asleep if the situation is not the best, so please open your mind, rest and be prepare to have a new journey. The first song "Shadowlights" could actually be a sole album, it lasts 42 minutes in which he produces countless images, first only with some sounds but little by little he adds a lot of effects, noises, figures that with the pass of time help the music creating a story, which at the same time is divided in several short stories.

We can listen to drums that make the rhythm and invite the other sounds to produce something under its command; we can listen to voices here and there, I am not sure if Lisa's voice is there, it may be a sampler I don't know, but it is like the sensation of being watched by someone, who later talks to us while we are flying, discovering new realms, letting our souls be filled by the blood that runs on the universe's veins. What I love from Schulze's music, is that no matter its length, I always have something to imagine, it is wonderful how can my mind create stories that later may become history, how every single note/noise/texture etc. can cut across my soul and become part of me. One can travel and travel and don't find an exit, but when I listen to this music, I don't want to find an exit, I just want to be trapped and focus on what the music offers, nothing more.

"In Between" is much shorter though still long (17 minutes), here the first minutes are like echoes of that female voice, like spirits passing beside you while you are floating in another dimension, you may be dead but you are being charmed by several muses that lead you to a better place. After some five or six minutes the liquid landscapes take over the music, so those muses led you to Schulze's world actually, so sit comfortable and enjoy the trip. "Licht und Shactten" might be the second part of In Between, it starts with the same rhythm the previous finished, and then the voices appear again but clearly in new stages. The music flows, the same rhythm prevails, and the story changes little by little until it fades out.

I liked this album a lot, pure Schulze style, I love the images it puts every time I listen to it, so that's enough, that's a proof the music succeeded with me. My final grade 4 stars.

Enjoy it!

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 Audentity by SCHULZE, KLAUS album cover Studio Album, 1983
3.40 | 60 ratings

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Audentity
Klaus Schulze Progressive Electronic

Review by the philosopher

2 stars With "Dune" I concluded that 80's work of Klaus Schulze might be worth listening to. So I picked up this "Audentity" which contains almost 100 minutes of synthesizer music on a double vinyl, containing three side long tracks and one side filled with three shorter tracks. Klaus Schulze still collaborates with Wolfgang Tiepold on Cello which have been proven to be very succesfull (X, Dune). Michael Shrieve takes care for the drum computer and Rainer Bloss adds some "Glockenspiel" and soundeffects. Klaus Schulze is giving more sounds out of hand!

The opening side filling track "Cellistica" shows Schulze in a less abstract form then I'm used too. This is due to more clear melodies and the all flattening drum computers (no, I'm not too fond of these!). Because of some strange sounding "organs" and space effects this composition is still quiet listenable, but doesn't leave me too enthousiastic. The second side - which is filled with three tracks - I find almost unlistenable because of the first and third composition on this side. The first ("Tango - Saty") should have been funny, but I find it the weakest track I've heard so far by Klaus Schulze. The third composition I find quiet boring because of the drum computers in it. The second composition may be quiet good, like other reviewers have pronounced, but cannot save this side for me.

The third side is filled with another side filling track, named "Spielglocken". This composition I find a bit too predictable, because of the constant use of drum computer, which flattens the sound and lack of abstraction. The last side contains the last track "Sebastian im Traum". This I find actually the only compostion worth listening too. It is far more abstract, lacking any form of percussion or drums, and contains some nice glockenspiel and space effects. It also contains some more horrifying parts.

In total I cannot say I'm very fond of this double record. There is a lot of mediocre/ weak material on it and just one composition that stands out, but this one is still not one of Schulze's best works. Because of the huge amount of material on this album this could however be a nice addition for fans.

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 Shadowlands by SCHULZE, KLAUS album cover Studio Album, 2013
3.52 | 22 ratings

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Shadowlands
Klaus Schulze Progressive Electronic

Review by Ricochet
Special Collaborator Honorary Collaborator

3 stars To my mind, Shadowlands being only Schulze's third personal creation in eight years should count as more than a simple fact. While unjustly counting out his particular new rise with Lisa Gerrard throughout the mid-00s (where the music was his authoring just as much, plus the whole new development was something very interesting to remark) or other "lone tracks", of less notice anyway, scattered at times, I guess there's a point to make in how different his interests and were (from distressing hiatuses to spirited attempts to keep things going, trying out new things or putting back on shelves his entire music from the past, collaborating often and openly or getting occasionally back to his solo concepts) in what is now almost a full recent decade that's quite hard to define.

So just three solo albums in all this time, only one of them (very) good and, it has to be said, it isn't this one. No, that'd still be Kontinuum from 2007 thanks to its retro spicing, its throwback to vintage sequencing and its overall greatly inspired dynamics. It's somewhat understandable expecting Shadowlands to be, in some way, just as significant. Sadly, should it actually claim any meaningfulness, it comes off as rather superficial and laid-back. It's a throwback itself, but less clear as to what. It could well stand as a closing chapter to all these recent years' music, should Schulze impress with something new next time around, but that's to be seen (and improbable, if you ask me).

Instead, one could be more rude as to say much of the album is a rehash - there is some talk about part of the material being of Contemporary Works-period or Gerrard sessions provenance, but I couldn't find much information on this, nor match up the compositions too well. The way I personally see it, it shooting in different directions would in fact be the one thing about this album that intrigues me, especially since some connections are stronger than others. A lot of the beats, samples or overall templates and flows of the music are of a recent nature, in ways certainly not novel or unheard before - hinting at his recent concerts or, indeed, sharing traits with some of the deeper, slowburning epics off CW -, while at the same time it makes me wonder why other frequencies, with more gusto or more electrifying (such as on KlangArt or even Rheingold) feel abandoned. Gerrard's singing creeps back in, illusory, lointain and enchanting, with additional vocals by Chrysta Bell and Juli Messenger from CWII's Virtual Outback. More present is Thomas Kagermann - also linking to a couple of CW albums (Ballett, Virtual Outback), his violin melodies and dazes mostly enclosing and vibrant. The weirdest feeling of all I get is how some concepts ("Tibetan Loops") or rhythms ("Licht und Schatten") would reach out to Wahnfried albums from the 90s, such as The Gancha Dub.

The album lasts two and a half hours if you include the limited edition 2nd CD (which is, of course, Schulze's idea of a "bonus") and it's balanced and well composed and mastered, but also directionless and disorienting, channeling through different states- something that would never bother me that much in his music, except that right here it lacks substance and it even feels like it disturbs its "shadowy" trances, highly expressive touches or mantra lentor through beat surrender. The bonus disc would be even more worthwhile than the original material, The Rhodes Violin certainly a fine (if not superior) complement to The Rhodes Elegy off CWII, I myself loving its initial resonances, both suave and mysterious. Apart from a few fragments that sound the wrong way, "smoothy" or too beat-driven, the entire album can be enjoyed moderately. Yet afterwards, there's not much to say.

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 Shadowlands by SCHULZE, KLAUS album cover Studio Album, 2013
3.52 | 22 ratings

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Shadowlands
Klaus Schulze Progressive Electronic

Review by admireArt

4 stars As many of the founders of this category; KLAUS SCHULZE has such a vast discography (with not "ALL" of those works; being exactly "Pearls"); that it is easy to get something which is not to ones own likings (how elegant ) or overlook some other excellent work. I guess that is why Progarchives is so attractive. Also sometimes it saves me a lot of time & money, understanding of course that all judgements passed are as subjective; as who you are. So we all have to draw our own conclussions; at the end of the day. . Well if you like Schulzes´s better days recovered in works like "In Blue" or the work done with (Death Can Dance; vocalist/composer)) Lisa Gerrard. "SHADOWLANDS" is in the same route and concept; (the usual, in fact) of long timed environmental compositions.

Why name "In Blue" in reference to this work? This work takes the same sinous, hypnotic and music free-flowing directions found in that album, but here there is less electronic- pulse/processes, this one tends more to the minimal, more towards simplicity (without silly "riffs" or "catchy" melody progressions; which sometimes Mr Schulze loves to abuse). And why the reference to his works with Lisa Gerrard? As those, this work also moves closer to "Sonic-Ambients", a field Mr. Schulze, also knows by heart.

With intelligent; slow paced compositions, varying his atmospheres as not to sound too "synth-full", and I suppose also, as a more experienced composer, as to avoid unnecessary ornamentations, a more clear to the his goal in the song writing, and of course overall, greatly achieved results.

**** 4 "excellent electronic/ambient work;... we were long overdue!"

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