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When I began my explorations of the work and evolution of Klaus Schulze, I started with his most highly acclaimed albums and then when back to his origins--his work with Tangerine Dream, Ash Ra Tempel, and Cosmic Jokers. While I enjoyed these pieces, I never really felt that anything he had done was so very earth-shattering or timeless. Until I stumbled upon this album. Once Klaus had made the commitment to the incorporation of other instruments and other collaborators to his music I feel there is finally a breakthrough--a true expansion and fulfillment of the potential of his music. I feel a tremendous augmentation of the power of Klaus's music with the addition/incorporation of strings, cello, orchestra, violin, live percussion as well as Harald Grosskopf's drums--so much so that I would call "Ludwig II von Bayern," "Heinrich von Kleist" and "Objet d'Louis" three of the greatest Progressive Rock epics ever produced. That would lead us back to review the album's original two sides--of which one, "Georg Trakl" was relegated to a five-minute edit due to the physical limitations of sound reproduction on vinyl. (Too bad Klaus was German: his standards were too high. Had he known what Todd Rundgren had been squeezing into his vinyl albums, he might have reconsidered.) Anyway, I have the advantage of working from the latest 2018 CD release of the album, thus the inclusion of "Louis" and a full, 26-minute version of "Georg Trakl." The opener, "Friedrich Neitzsche" (24:53), benefits tremendously from the masterful use of Mellotron choir, Harald Grosskopf's drums as well as Klaus's great organ and synth play. (49/50) 2. "Georg Trakl" (26:04)--the full-length version--opens with two minutes of space blob music before it turns to more pop-familiar sounds and melodies (PINK FLOYD comes to mind). Harald's subtle cymbal play becomes more attention-grabbing in the sixth minute. A key shift at 8:38 provides a kind of "refresh" while Klaus's own percussive synth work becomes interesting. Multiple sequences layered over one another in the sixteenth minute offer another shift. But, alas! the song just doesn't do enough to warrant 26 minutes of the listener's dedication, even with a shift into minor key with six minutes left. (43/50) 3. "Frank Herbert" (10:51) a big "orchestra hit" opens this before a fast-paced TD-"Thief"-like sequence establishes the breakneck speed we're going to be subjected to for the next ten minutes. (I know: the movie "Thief" won't be coming out for another three years.) Everything on this song is hyped up and fast, even the incidentals that Klaus keeps throwing in from every direction. Other than tom-tom flourishes, I'm grateful for Harald's rather subdued role as simple time keeper (very Jaki L-like metronomic snare and kick drum play) (17.25/20) 4. "Friedemann Bach" (17:58) opens very sparsely with two slowly bouncing synth strings chords while Harald throws in some syncopated tom hits. In the second minute Klaus's synth work builds as the chords climb in pitch until a pause for some freaky "alien voices" at the two minute mark opens a new section--one with a break from any drums and with more "string" instruments introduced as solo items. Cool! In the fifth minute, everything we've heard so far begins to reenter and slowly congeal as Klaus's strings build to a fever pitch. Just before the five minute mark, a simple four-note sequence emerges into the mix, giving the song some kind of frail stability. The myriad incidental instruments and noises continue to make their sudden and random appearances until a wild flying violin begins to take a more permanent presence. I don't know who Friedmann Bach was, but the eeriness of this music makes me believe that he must have been the purveyor of some pretty frightening ideas or art. Things really peak in the 12th minute before there is an odd and unsettling break--a premature reprieve, it turns out, as more waves of chaotic continue to flash through the soundscape. Then the final two minutes give a kind of Fall of the House of Usher dénouement--as if everything comes crashing in. What a ride! Genius! and effective! (32/35) 5. "Ludwig II. von Bayern" (28:42) the perfect blend of electronica and real orchestra. Very evocative music. Though not about the other, more famous Ludwig von, there are passages that remind me of Beethovian music. (58/60) 6. "Heinrich von Kleist" (29:33) is a fine un-tempoed piece of orchestra, synthesizer and improvised percussion play--becoming much more of this latter during the middle section, but then returning to music with the organ and Mellotron choir entries in the eighteenth minute. It is dark and ominous throughout, thickening on the lower end for the full-spectrum sound of the final six minutes. (53/60) 7. "Objet d'Louis" (21:27) though unpolished--as evidenced by the scratchy sound on the recovered tapes--this eery song would make for a great soundtrack to a sci-fi time travel film. Very skilled classical music composition with some great themes and movements. No sign of Harald, drums, or even percussives anywhere! (36/40)

All in all, this is probably the finest album of Prog Electronic music (or "Krautrock") that I've ever heard--certainly head and shoulders above anything I've heard by any other artist from the 1970s. Without question, this deserves full marks.