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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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La Vie Electronique 15La Vie Electronique 15
MADE IN GERMANY MUSI 2014
Audio CD$14.99
$14.98 (used)
KontinuumKontinuum
Spv 2007
Audio CD$9.95
$14.99 (used)
Official Klaus Schulze Boot 1: Stars Are BurningOfficial Klaus Schulze Boot 1: Stars Are Burning
Mirumir 2015
Audio CD$21.43
$30.26 (used)
DreamsDreams
Import
Thunderbolt 1996
Audio CD$7.38
$4.00 (used)
La Vie Electronique 4La Vie Electronique 4
Box set · Import
101 DISTRIBUTION 2009
Audio CD$11.75
$10.89 (used)
La Vie Electronique Vol. 14La Vie Electronique Vol. 14
MADE IN GERMANY MUSI 2014
Audio CD$14.58
$13.49 (used)
MoonlakeMoonlake
Spv U.S. 2005
Audio CD$9.74
$1.99 (used)
Ballett 3Ballett 3
Revisited Records 2007
Audio CD$10.36
$8.20 (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)

3.48 | 115 ratings
Irrlicht
1972
3.74 | 107 ratings
Cyborg
1973
3.30 | 93 ratings
Blackdance
1974
3.75 | 77 ratings
Picture Music
1975
4.16 | 193 ratings
Timewind
1975
3.69 | 135 ratings
Moondawn
1976
4.25 | 206 ratings
Mirage
1977
4.08 | 88 ratings
Body Love: Original Filmmusik
1977
4.06 | 81 ratings
Body Love Vol. 2
1977
4.16 | 186 ratings
X
1978
3.23 | 66 ratings
Dune
1979
3.06 | 55 ratings
Dig It
1980
3.19 | 40 ratings
Trancefer
1981
3.43 | 57 ratings
Audentity
1983
2.77 | 29 ratings
Angst (soundtrack )
1984
2.22 | 18 ratings
Drive Inn (with Rainer Bloss)
1984
1.65 | 12 ratings
Aphrica (with Rainer Bloss & Ernst Fuchs)
1984
2.83 | 28 ratings
Inter Face
1985
2.59 | 28 ratings
Dreams
1986
2.97 | 21 ratings
Babel
1987
3.62 | 33 ratings
En=Trance
1988
2.29 | 25 ratings
Miditerranean Pads
1990
3.04 | 26 ratings
Beyond Recall
1991
2.19 | 18 ratings
Le Moulin de Daudet
1994
2.58 | 15 ratings
Namlook & Schulze: Dark Side of the Moog
1994
2.46 | 12 ratings
Goes Classic
1994
1.29 | 12 ratings
Totentag
1994
2.94 | 14 ratings
Namlook & Schulze: Dark Side of the Moog II
1995
2.92 | 15 ratings
Namlook & Schulze: Dark Side of the Moog III
1995
3.65 | 41 ratings
In Blue
1995
2.52 | 12 ratings
Namlook and Schulze: The Dark Side Of The Moog IV
1996
3.04 | 16 ratings
Namlook and Schulze: The Dark Side Of The Moog V
1996
3.22 | 25 ratings
Are You Sequenced?
1996
2.59 | 18 ratings
Dosburg Online
1997
3.48 | 14 ratings
Namlook and Schulze: The Dark Side Of The Moog VI
1997
3.62 | 17 ratings
Namlook and Schulze: The Dark Side Of The Moog VII
1998
2.22 | 13 ratings
Namlook and Schulze: The Dark Side Of The Moog VIII
1999
3.02 | 13 ratings
Namlook and Schulze: The Dark Side Of The Moog IX
2002
2.92 | 13 ratings
Namlook and Schulze: The Dark Side Of The Moog X
2005
3.43 | 38 ratings
Moonlake
2005
3.71 | 7 ratings
Vanity of Sounds
2005
3.50 | 6 ratings
The Crime of Suspense
2006
2.92 | 12 ratings
Ballett 1
2006
2.83 | 6 ratings
Ballett 2
2006
3.00 | 7 ratings
Ballett 3
2007
2.86 | 7 ratings
Ballett 4
2007
3.83 | 59 ratings
Kontinuum
2007
3.56 | 33 ratings
Farscape (with Lisa Gerrard)
2008
3.69 | 13 ratings
Namlook and Schulze: The Dark Side Of The Moog XI
2008
3.71 | 9 ratings
Virtual Outback
2008
3.55 | 26 ratings
Shadowlands
2013

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

3.14 | 30 ratings
Live
1980
3.31 | 30 ratings
Dziekuje Poland (with Rainer Bloss)
1983
3.28 | 18 ratings
The Dresden Performance
1990
3.74 | 15 ratings
Royal Festival Hall Vol. 1
1992
3.84 | 19 ratings
Royal Festival Hall Vol. 2
1992
3.26 | 16 ratings
The Dome Event
1993
3.14 | 12 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
3.19 | 13 ratings
Dziekuje Bardzo - Vielen Dank
2009
3.08 | 14 ratings
Big in Japan
2010

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

3.93 | 10 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 | 4 ratings
2001
1991
3.50 | 4 ratings
Silver Edition
1993
3.21 | 5 ratings
The Essential: 72-93
1994
3.91 | 11 ratings
Historic Edition
1995
3.67 | 6 ratings
Jubilee Edition
1997
2.00 | 3 ratings
Trailer
1999
4.00 | 6 ratings
The Ultimate Edition
2000
3.14 | 7 ratings
Contemporary Works I
2000
3.17 | 6 ratings
Contemporary Works II
2002
3.39 | 12 ratings
La Vie Electronique 1
2009
3.97 | 10 ratings
La Vie Electronique 2
2009
2.83 | 13 ratings
La Vie Electronique 3
2009
3.07 | 12 ratings
La Vie Electronique 4
2009
3.18 | 9 ratings
La Vie Electronique 5
2010
4.00 | 10 ratings
La Vie Electronique 6
2010
2.32 | 9 ratings
La Vie Electronique 7
2010
3.22 | 9 ratings
La Vie Electronique 8
2010
3.00 | 7 ratings
La Vie Electronique 9
2011
3.00 | 7 ratings
La Vie Electronique 10
2011
2.50 | 6 ratings
La Vie Electronique 11
2012
3.75 | 8 ratings
La Vie Electronique 12
2012
4.08 | 7 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
 La Vie Electronique 8 by SCHULZE, KLAUS album cover Boxset/Compilation, 2010
3.22 | 9 ratings

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La Vie Electronique 8
Klaus Schulze Progressive Electronic

Review by Atrium

3 stars Actually, is 3.5 stars.

I expected more from this volume as the other previous volumes of La Vie Electronique. The cherry on the cake is the track Hitchcock Suite, wich is a MASTER PIECE in the infinite music of Klaus Schulze. This marks all the period of percussion music made by Klaus Schulze, wich personally I don't like it very much. Probably because of the inclussion of Arthur Brown in vocals. I feel it very annoying, with less sense, comparing it with the astral ambient made by Schulze's keyboards.

Although, there are two interviews in wich Klaus mentions all the inspiration that he had in that period, wich is very interesting hearing it.

In general, it's an excellent collection of that period in Klaus Schulze's career, having almost all tracks live, performed on tour by the years of 1979-1980.

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 Irrlicht by SCHULZE, KLAUS album cover Studio Album, 1972
3.48 | 115 ratings

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Irrlicht
Klaus Schulze Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars After briefly joining ranks with both Ash Ra Tempel and Tangerine Dream, KLAUS SCHULZE decided to trade in his drums for an organ and learned how to process the hell out of it until it sounded like the background music for a strange alien world far, far away in another galaxy. This Berlin native took the freak factor aspect in Krautrock and simply removed the rock part of the equation and ran away with the rest. IRRLICHT (which technically includes Quadrophonische Symphonie für Orchester und E-Maschinen behind it and means will-o'-the-wisp) is one of his early spacey drone albums that is more Musique concrète than his later more melodic concoctions. The album simply consists of strange manipulated organ sounds with other strange samplings of guitar, zither, voice, oboes, cellos etc.

This is one of the strangest albums out there as it truly sounds divorced from what many would deem "music." There are only subtle musical scales or chord progressions if they occur, no harmonies and just a parade of sounds that mostly stay in a single drone with flutterings of various effects thrown in at any given moment akin to the randomness of slowly drifting clouds in the sky taking new forms that come and go but only in non-repetitive fleeting tidbits of originality never to be duplicated again. Speaking of duplication, actually maybe there was. When SCHULZE left Tangerine Dream they couldn't decide who had the right to use this idea so it turns out they both did with TD releasing a similarly styled album on "Zeit."

This was a revolutionary time in electronic music where experiments with newly invented musical gear had hitherto never been created although the freaky Krautrock and psychedelic music of the late 60s and early 70s was hinting towards the desire to create soundscapes that utterly escape the gravitational force of the confinements of already established musical patterns. Although others had done so, no one had done it like this. This is slow-as-molasses music with musical arrangements clearly in the mix for the patient but I would imagine this to be too little pay off for many a rock fan.

I personally find this music to be stimulating and haunting, conjuring up images of what sound and "music" would be like if one were able to do a Matrix like trip into a Salvador Dali painting. Surreal and creepy, esoteric and icily beautiful. This is one that sets a mood and most likely will provide a demented background scene in a Halloween haunted house or S&M Dungeon but if you have the patience to actively instead of merely passively tune in then this one is rewarding on that level as well. Perhaps not an everyday album that you will finding yourself singing along with but certainly one that warrants a spin when the right mood and circumstances arise. A great start for a decades long career and ridiculously huge discography.

The 2006 remaster has a 24 minute bonus track called "Dungeon" which fits right in and indeed reminds me of going insane in a dungeon, sleeping naked on an ice cold stone cellar floor perhaps with chains around my limbs. Creepily brilliant stuff this is! Something must be wrong with me.

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 Beyond Recall by SCHULZE, KLAUS album cover Studio Album, 1991
3.04 | 26 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
3.75 | 77 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 on any other. 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 | 135 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
3.75 | 77 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
4.08 | 7 ratings

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The Schulze-Schickert Session
Klaus Schulze Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

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
3.84 | 19 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
3.55 | 26 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
3.43 | 57 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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