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Klaus Schulze - Pete Namlook & K. Schulze: The Dark Side Of The Moog II CD (album) cover


Klaus Schulze


Progressive Electronic

2.75 | 27 ratings

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RIO/Avant/Zeuhl,Neo & Post/Math Teams
2 stars As the previous volume of Dark Side Of The Moog, the album contains a single suite divided on the CD into segments of about 5 minutes each, regardless the contents. Also, as the previuos one, the connection with Pink Floyd, other than in the titles, seems to be limited to the studio disc of Ummagumma (which is not a bad thing).

It starts very dark, with a sort of "chirp" sound looped to the infinity. A deep bell sound enters after about 3 minutes and we have to wait three more minutes for a sort of cuckoo to be added. Then several sounds come and go. Described in this way, it may seem extremely boring, but I think it's mainly hypnotic. Pure Berlin school, and way better than the usually nowhere-going suites of Phrozenlight. Closing my eyes I can see a dark foggy wood, like in a horror movie. Small furry animals are now running free out of their cave. When the bell stops 15 minutes are already gone. Now only the animals remain.

More than 20 minutes are gone when a sound mimic of a sea shore enters. Now this "saucerful of ambience" is more alien. I don't know how to interpret the sound similar to a fart that is repeated at irregular time intervals. What is it really about?

Water now. Raindrops falling, distant thunders, what I've heard up to now, gives me a sensation of a cold, dark and wet place. So, after 27 minutes of this soundscape, the first proper notes can be heard. A little melody overrides the storm and gives a sensation of relax. It's not staying home warming by a fire, but the atmosphere is very different from before. It makes me think to the Vangelis soundtracks for Philip Rossif.

The melody developes slowly, sliding on minor chords with some little dissonances here and there. Electronic sound and beeps are still present, fart included, but now the stage is all for the keyboard minor chords. The background souns are slowly transformed into a rhythmic section. Different from Nick Mason's famous drum riff on Saucerful of Secrets but similar.

so, after 43 minutes, the melody stops and we have a drone percussion solo lasting until minute 44 when...surprise!!! a 4/4 techno part which would fit perfectly into a rave party. Why? Because they (Schulze and Namlook) liked it that way, I guess. Do I like it? Kpnestly, if it was on air, I would have changed station, but let's see where it goes...

The disco rhythm is smoothly overriden by the return of the organ minor chords with just a hint of percussion that takes longer to disappear. F minor to C minor basically. Thinking to the suite title, I think the connection with Pink Floyd's Saucerful of secrets is in the structure: a first movement made of electronic noises, sort of concrete music, followed by a movement based mainly on percussion and a final movement more melodic, even considering the return of the percussion which reappear after 1 hour.

Then we see the return of all those elements together, 4/4 rave rhythm included. Last, there's a regression to the initial foggy dark and wet wood to close the circle.

I have enjoyed parts of this suite, but not in its entirety. The disco part appears to be outplaced and meaningless inside the rest of the suite and parts of it could have been shortened a bit.

I could suggest it only to listeners really addicted to these soundscapes.

octopus-4 | 2/5 |


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