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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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Made in Germany Musi 2016
Audio CD$11.26
$54.99 (used)
Made in Germany Musi 2016
Audio CD$13.34
$10.62 (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$22.68
$27.81 (used)
The Dark Side Of The Moog Vol. 9-11The Dark Side Of The Moog Vol. 9-11
Made In Germany Musi 2016
Audio CD$23.54
$59.99 (used)
Spv 2007
Audio CD$10.39
$6.98 (used)
Made In Germany Musi 2016
Audio CD$16.99
The Dark Side Of The Moog Vol. 5-8The Dark Side Of The Moog Vol. 5-8
Made In Germany Musi 2016
Audio CD$22.49
La Vie Electronique 16La Vie Electronique 16
Made In Germany Musi 2015
Audio CD$18.14
$17.12 (used)
Import · Remastered
Esoteric 2008
Audio CD$9.43
$13.86 (used)
Right Now on Ebay (logo)
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KLAUS SCHULZE discography

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

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

3.49 | 129 ratings
3.67 | 118 ratings
3.33 | 105 ratings
3.76 | 88 ratings
Picture Music
4.18 | 218 ratings
3.70 | 146 ratings
3.97 | 95 ratings
Body Love: Original Filmmusik
4.24 | 225 ratings
3.94 | 93 ratings
Body Love Vol. 2
4.11 | 201 ratings
3.23 | 72 ratings
3.04 | 59 ratings
Dig It
3.17 | 45 ratings
3.41 | 64 ratings
2.75 | 33 ratings
Angst (soundtrack )
2.21 | 20 ratings
Drive Inn (with Rainer Bloss)
1.69 | 14 ratings
Aphrica (with Rainer Bloss & Ernst Fuchs)
2.79 | 31 ratings
Inter Face
2.59 | 30 ratings
2.93 | 21 ratings
3.59 | 36 ratings
2.33 | 29 ratings
Miditerranean Pads
3.03 | 29 ratings
Beyond Recall
2.23 | 20 ratings
Le Moulin de Daudet
2.59 | 18 ratings
Namlook & Schulze: Dark Side of the Moog
2.46 | 14 ratings
Goes Classic
1.33 | 14 ratings
2.93 | 17 ratings
Namlook & Schulze: Dark Side of the Moog II
2.89 | 18 ratings
Namlook & Schulze: Dark Side of the Moog III
3.81 | 41 ratings
In Blue
2.56 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog IV
3.04 | 19 ratings
Namlook and Schulze: The Dark Side Of The Moog V
3.15 | 30 ratings
Are You Sequenced?
2.62 | 20 ratings
Dosburg Online
3.48 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog VI
3.62 | 17 ratings
Namlook and Schulze: The Dark Side Of The Moog VII
2.25 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog VIII
3.02 | 15 ratings
Namlook and Schulze: The Dark Side Of The Moog IX
2.94 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog X
3.46 | 41 ratings
3.75 | 8 ratings
Vanity of Sounds
3.57 | 7 ratings
The Crime of Suspense
3.00 | 14 ratings
Ballett 1
3.00 | 7 ratings
Ballett 2
3.13 | 8 ratings
Ballett 3
2.78 | 9 ratings
Ballett 4
3.79 | 64 ratings
3.26 | 34 ratings
Farscape (with Lisa Gerrard)
3.65 | 15 ratings
Namlook and Schulze: The Dark Side Of The Moog XI
3.72 | 10 ratings
Virtual Outback
3.52 | 31 ratings

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

3.12 | 33 ratings
3.23 | 35 ratings
Dziekuje Poland (with Rainer Bloss)
3.32 | 19 ratings
The Dresden Performance
3.74 | 16 ratings
Royal Festival Hall Vol. 1
3.81 | 20 ratings
Royal Festival Hall Vol. 2
3.31 | 17 ratings
The Dome Event
3.18 | 13 ratings
Das Wagner Desaster-Live-
3.78 | 9 ratings
Live @ KlangArt 1
3.50 | 8 ratings
Live @ KlangArt 2
3.20 | 18 ratings
Rheingold - Live at the Loreley
3.75 | 8 ratings
Live @ KlangArt
3.21 | 15 ratings
Dziekuje Bardzo - Vielen Dank
3.09 | 15 ratings
Big in Japan

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

3.93 | 11 ratings
Rheingold - Live At The Loreley
3.50 | 6 ratings
Dziekuje Bardzo
3.75 | 4 ratings
Big in Japan

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

2.80 | 5 ratings
3.50 | 4 ratings
Silver Edition
3.21 | 5 ratings
The Essential: 72-93
3.91 | 11 ratings
Historic Edition
3.67 | 6 ratings
Jubilee Edition
2.00 | 3 ratings
4.00 | 6 ratings
The Ultimate Edition
3.14 | 7 ratings
Contemporary Works I
3.14 | 7 ratings
Contemporary Works II
3.38 | 13 ratings
La Vie Electronique 1
3.94 | 12 ratings
La Vie Electronique 2
2.83 | 14 ratings
La Vie Electronique 3
3.06 | 13 ratings
La Vie Electronique 4
3.14 | 10 ratings
La Vie Electronique 5
3.97 | 13 ratings
La Vie Electronique 6
2.28 | 10 ratings
La Vie Electronique 7
3.22 | 9 ratings
La Vie Electronique 8
3.00 | 7 ratings
La Vie Electronique 9
3.00 | 7 ratings
La Vie Electronique 10
2.71 | 7 ratings
La Vie Electronique 11
3.67 | 9 ratings
La Vie Electronique 12
4.07 | 8 ratings
The Schulze-Schickert Session
4.00 | 2 ratings
Privée (with U.S.O.)

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

2.33 | 6 ratings
Come Quietly - with Lisa Gerrard


Showing last 10 reviews only
 Live by SCHULZE, KLAUS album cover Live, 1980
3.12 | 33 ratings

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 | 201 ratings

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
3.94 | 93 ratings

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!

 Mirage by SCHULZE, KLAUS album cover Studio Album, 1977
4.24 | 225 ratings

Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars Do mirages exist in frozen lands?

3.5 stars

Subtitled 'An electronic winter landscape', this seventh album from Klaus Schulze is dedicated to his big brother Hans-Dieter, who taught him drumming and just died shortly before. The least we can say is that all these points are reflected in the music. Although the German pioneer deploys an impressive amount of various electronic devices here, this sonic research does not extend the futuristic and melodic approach previously adopted on "Body Love", or even "Moondawn". No Harald Grosskopf here, so no percussive elements either. The two 30 minutes compositions are atmospheric, static, like on "Timewind". However, instead of the oneiric and surrealistic soundscapes of the 1975 opus, "Mirage" proposes a musical trip to far away icy soundscapes, frozen for eternity, out of time, crystalline and melancholic. The track contain six sections each, but they're difficulty distinguishable from one to another.

The ambient and gloomy opening of "Velvet Voyage" resembles the 'screams' part of PINK FLOYD's "Echoes Part 2". Like "Wahnfried 1883", there are almost no sequences, but rather slow stretched and depressive waves, even taking us back to the "kozmische musik" years at times. The contemplative ending is great. A cold beauty, however a bit too imposing.

The highlight of the record is the superb "Crystal Lake", which perfectly carries its name. A dreamy and crystalline painting with unique bells sonorities. The middle section is melancholic, sad, and even a little mystic. Then the 'bells' sequence returns. Undoubtedly Schulze's iciest composition. For me, the lake is located underground, in some mysterious crystal cave, reflecting every entering murmur.

With "Mirage", the German artist proposes something different and goes one step further. Considered by some fans as his summit, I find this seventh opus slightly overrated though, mainly due to "Velvet Voyage". But I adore "Crystal Lake". Nonetheless, this album remains one of his most original, personal, majestic, and definitely his most depressive.

Do not expect futuristic or lively music here. "Mirage" is a disc to listen to when you're in a particular mood, melancholic, looking at the snow fall through the window at the winter...

 Body Love: Original Filmmusik by SCHULZE, KLAUS album cover Studio Album, 1977
3.97 | 95 ratings

Body Love: Original Filmmusik
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

3 stars No bontempi keyboards here

3.5 stars

Klaus Schulze's first soundtrack is for... an erotic movie! Believe it or not, his previous albums "Timewind" and "Moondawn" were already used by German film director Lasse Braun as background music for his scenes. Logically, he directly asked the electronic musician to compose the score for his next production, "Body Love". But don't worry, there are no soporific, flat or lazy composition here. Schulze still proposes a musical trip through his hypnotic and slowly evolving soundscapes. Then... is this a follow up to "Moondawn", or even "Timewind"? More precisely, "Body Love" can be seen rather as futuristic evolution, mainly due to the percussive elements of future ASHRA drummer Harald Grosskopf, but also due to the dynamicity of the tracks and their science-fiction sonorities.

"Stardancer" can be described as a more lively and upbeat version of "Totem", from the "Picture Music" album. After a trippy cosmic introduction, pulsating sequences and synthesizer waves give life to mystical whirlwinding keyboards. It even sound Middle-Eastern-ish at times. Mesmerizing! Probably my favorite passage of the record. Dedicated to his girlfriend, "Blanche" is maybe the more suited piece to an erotic scene of the entire soundtrack. In contrast with the other tracks, this is a kind of electronic romance. Beginning with a delicate and calm piano introduction, it displays a relaxing and oneiric sonic landscape. No rhythm here, just a peaceful ambiance.

Longest composition of the album, the 27 minutes "P.T.O" can be seen as extended version of "Stardancer". After a magnificent spacey and contemplative opening, the middle sequenced section is not bad but tends to become a little repetitive and monotonous. This passage could have been shortened. The deliverance arrives with a delightfully surprising break introducing the final part, which brings the listener somewhere between the stars...

Quite different from TANGERINE DREAM's movie scores, "Body Love" is a good soundtrack and even surpasses "Moondawn" in terms of variety and attractiveness. Harald Grosskopf's drums are a welcomed addition and brings a futuristic tone to Schulze's stretched soundscapes. I did not see the film, but, except for the piano overture of "Blanche", I can difficulty imagine how well the music is suited... To be honest, I would not recommend to play it neither for a romantic dinner nor to make love. Instead of erotic and sensual tracks, what we have here somehow foreshadows the 'trance music' of the nineties!

During your Klaus Schulze musical journey, don't be afraid by the soundtrack denomination or the nature of the movie it addresses. "Body Love" should by no means be considered as a minor effort by the German pioneer and is at the level of his other studio opuses of the 70's. Do not hesitate to dive into this nice retro-science fiction ambiance and give it a listen!

 Privée (with U.S.O.) by SCHULZE, KLAUS album cover Boxset/Compilation, 2016
4.00 | 2 ratings

Privée (with U.S.O.)
Klaus Schulze Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Good news for Progressive Electronic followers and maybe the rest of the Prog world!

U.S.O. aka Klaus Schulze (synths) + Olli Finken on drums + Razoof Lear (not real name) on guitar. As it is explained in the CD's booklet, this is previously, 2000 super exclusive released material, now in a more accesible format.

Well! Kudos to Mr. Schulze for unearthing this not so far in time material.

Now to where it matters the music.

This release opens up with an exciting and mysterious, obscure Gothic like, electronic track "The Keyhole" (4 stars). The whispering chorals add up to its building tension and serves as the intro to...

Track 2 "Privat". A highly sophisticated and SUPER-cool, flowing futuristic lounge electronic piece. Attractive as it shows Mr. Schulze's language best direction as it is filtered and moderated through his U.S.O.'s colleagues. 4 stars.

"Privée" has a different direction. Mr Schulze's well established translation of the Berlin School's pulse rhythms and sequences. The one of which he is a true master since the 70's. 4 stars.

Following this un-characteristically rich and diversified (an extremely good) compillation comes the longest track "Private". An obscure,highly attractive, intelligent, laid back, creative and focused composition. The kind of track that should be teached as the perfect intersection and EVOLUTION between the Berlin School and its U.S.A. West Coast branch............... If you can fly, this is the perfect track. 5 stars.

This release could not go without a -Bonus- track. "Privatissimo" is this one's one. Taking off , where "Privat" (track 2) left, it extends in the same direction , leaving a perfect pitch after-taste. 4 stars.

****4.5 PA stars.

 Timewind by SCHULZE, KLAUS album cover Studio Album, 1975
4.18 | 218 ratings

Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

4 stars Time to dream

Fifth opus by the German drummer and experimenter, "Timewind" is the album that genuinely establishes Klaus Schulze as an electronic music pioneer. After his early drone experiments and the transitional but nonetheless very interesting "Picture Music", the young artist really begins to take confidence on new synthesizers technologies and adopts the formula that will become his trademark: (very) long, deep, immersive and slowly evolving sonic landscapes. The sound effects are now more polished, mastered, and the usage of sequencer has definitely been adopted. The two 30 minutes pieces are a worthy testimony of both the musical freedom and spontaneity Schulze insufflates is his albums. Instead of hearing melodies, we dive into enigmatic ambiances that needs time to develop. Each composition has a beginning, but do they have a true end?

Klaus Schulze particularly enjoys Richard Wagner and dedicated "Timewind" to him. Logical when you take a look at the track-list. The German classical composer moved to Bayreuth in Bavaria, where he founded the "Bayreuth Festival", dedicated to his ten main operas. The festival still takes place nowadays. He lived in the "Villa Wahnfried", and died in 1883 in Venice. Therefore, "Bayreuth Return" and "Wahnfried 1883", which could also be described as "symphonic progressive electronic music", are clearly a tribute.

A few words concerning the cover art: impossible not to think of Salvador Dali when looking at Urs Amman's painting. Logical, as the esoteric and oneiric universe of the Spanish artist is well suited to "Timewind"'s soundscapes. The back cover displays kind of conceptual draft notes or abstract partitions of "Wahnfried 1883", from Schulze himself, but is this really the case? Matching the drawings and the different musical sections is not that easy...

Supposedly composed during an aware dream, "Bayreuth Return" was recorded in less than 2 hours in the night of the June 3rd, 1975, just after Schulze woke up on purpose. And that's really what this 30 minutes piece is about: a genuine awaken dream. Over-trippy interlacing loops textures weave a superb, meditative and surrealistic landscape. Slightly TANGERINE DREAM-esque, it resembles a retro-futuristic whirling dervish dance. At the end, the sequence is surprisingly accelerated. Fantastic! One of the greatest achievements from Klaus Schulze and even from the Berlin School! Like TD's "Phaedra" and Manuel Göttsching's "Inventions for Electric Guitar" albums, released during the same period, it will without any doubt have an influence on the trance genre from the 90's.

More atmospheric and non-sequenced, the ambient "Wahnfried 1883" is slow and contemplative, as if you were if you were discovering a desolated extraterrestrial landscape. No real melody or catchy passage here, you have to be concentrated to really enter this track. Hypnotic, mystical and innovative for 1975, however I still personally prefer the more lively "Bayreuth Return". Good "new-age" music before new-age music even existed? Perhaps... An inspiration for NEURONIUM? Certainly!

Simply a progressive electronic classic, "Timewind" is an iconic album the 70's the Berlin School, and also one of Klaus Schulze's best offerings! An essential listen, and the one to start with, especially for fans of TANGERINE DREAM.

With "Timewind", Klaus Schulze won the French prize 'Grand Prix du Disque International de l'Académie Charles Cros". This fifth opus was ordered by many media centers, and then became a huge success. That's how France was the country that truly launched the German drummer's career, for good...

 Are You Sequenced? by SCHULZE, KLAUS album cover Studio Album, 1996
3.15 | 30 ratings

Are You Sequenced?
Klaus Schulze Progressive Electronic

Review by admireArt
Prog Reviewer

3 stars Klaus Schulze's discography is huge and continues to grow each year. Be them new, remixed, remastered, + bonus track/s, etc., etc.

Add to that this artist gets all kind of mixed-ratings and top-it with 90% anonymous ones, on his least famous efforts. (Not the case with this one.)

Anyway, I have learnt not take those ratings as words carved in stone. As always, I strongly suggest you decide by your own. At the end of the day the best method still is to sample and hold or forget.

I mistrust most of Klaus Schulze's 80s and 90s releases, he, the same as 1000s of proggers, was bitten by the Drum-Box fly. His musical idiom became lame and sweet-toothed, things I despise as my listener's role.

His 1996, "Are You Sequenced" + bonus disc, is not exempt of this "flu", but thank the Gods, his intelligent melody lines subdue these "sparkling" or "New Agy" sounds. The drum-boxes will be there most of the times, so you better bare the fact that this listening experience will have its drawbacks. It also helps that some tracks , not all (as I would have wished), do without these "drums", and when this happens, Mr. Schulze delivers top of the game electronic music compositions, which show Mr. Schulze's craftmanship as a focused electronic music composer...(If you do not mind the average -Polka/Square Dance- like drum-box rhythm compasses adopted by most of the synth-Rock/Pop 80s' bands and musicians, you are almost in heaven!)

Like a work that could have been perfect, it is constantly diminished by its own author, with these kind of heartless and simplistic rhythm solutions. (Oddly considering that he, besides being a keyboard player, also plays "real"drums.)

Now, if you are young and highly impressed by all those "new" prog electronic musicians, check this guy the same as Tangerine Dream first, because as always nothing comes from nowhere.

Would have loved to love it but those incessant, personal, nuances hinder half my pleasure.

***3 PA stars.

 Picture Music by SCHULZE, KLAUS album cover Studio Album, 1975
3.76 | 88 ratings

Picture Music
Klaus Schulze Progressive Electronic

Review by Modrigue
Prog Reviewer

4 stars Klaus Schulze's first accessible album and little gem

Hidden between his early experimental albums and the seminal "Timewind", often considered as the beginning of his 'golden' era, "Picture Music" tends to be a lesser-known album of the German pioneer. A pity. For me, this fourth studio opus marks a giant step and the genuine beginning of his seventies' electronic period. Recorded in 1974, after "Blackdance", this is truly where Klaus Schulze started to move away from ambient drone music to enter the world of sequenced and hypnotic soundscapes that will become the trademark of the 'Berlin School'.

This spectacular progression in less than one year is due to the acquisition of new synthesizers, such as the ARP 2600. For a first fully electronic solo attempt, the compositions are very good and sounds rather modern for their time.

"Totem" paints an oneiric atmosphere, supported by ethereal keyboards and futuristic percussions giving life to this track. Then, the rhythm accelerates, unveiling whirlwinding improvisations reminding TANGERINE DREAM, as well as strange sound effects. The finale is just magical... This first side is a bit lengthy though, but remember this is Klaus Schulze.

Calmer and softer, "Mental Door" is also darker and more mysterious. Maybe influenced by his recent jamming adventures in COSMIC JOKERS, it even possesses a little swing feel, which is rather unusual in the progressive electronic genre. Like in "Totem", the pace gets faster and faster and the music transports you through unknown galaxies. Mindblowing, and quite original too! The ending part is slower but nonetheless beautiful.

The bonus track, "C'est pas la męme chose", is an alternate and extended version of "Totem", with a different final section.

Trippy and slightly ahead of its time, "Picture Music" is a milestone in Klaus Schulze's career. This first full-synthesizers album from the German ex-drummer is an interesting and colorful mixture of long dreamy sonic landscapes, surprising variations, futuristic sonorities and lively percussions.

Fans of TANGERINE DREAM and PINK FLOYD, be sure not to miss this one!

 Cyborg by SCHULZE, KLAUS album cover Studio Album, 1973
3.67 | 118 ratings

Klaus Schulze Progressive Electronic

Review by Atavachron
Special Collaborator Honorary Collaborator

2 stars

To wH0m it mAy ConcErn :

wE hve y0ur mUsIc. dΘnt TRY to conTACT the poLICE.

Y◌ːu Ψill PLACE five-thousand d0llArS in sports bag Δnd leave IT next to the fountain in the pArk two blocks from your house TOmorrow evening at eXaCtLy 8:30 pm. Your mUsIc will noT be harmed úŋless you do not cOmPLY as instructed-- ◌ːne record will be sEvErEly scratched for every hALF-hour you dElaY IN responding T0 our dEmAnDs. Your Λλusic will be rEturnEd at the same spot, same night, at 9:30 pm.

SO that YOU will KN0W it IS your COLLECTion, a description of 0nE of your records follows. It says "Klaud Schultz Cyborg" on tHe cover, dark BL◌͠◌ with drawing :

First thing, an ◌̦rgan, sounds like cHuRcH, and someone rúŋnning a credit card along fence. Ten minutes now ΔND still the same but with out-ΘF-key trumpets. Going on twenty minutes now, don't know if this cΘuld even qualify as music.

What SOUNDS like A second SONG noΨ, MAYBE. Long, long, and then ~ what ~ bΔgpipes? And a screen door being shook violently. It sounds ... mechanical. Like robots.

Long silences. NΘw birds. Like the aviary at the z◌͠◌.

If you c0mply with Ωur demands, all materials will be returned tΘ you. Do n0t try anything f00lish - -

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

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