Whereas Cyborg maintains some of its predecessor's experimentation, its individual tracks just make better use of sound as art. Picture Music is announced in some places including the official site as the third album, dating 1974, while in other places including. With Picture Music and X, Mirage is one of Schulze's best. As I'll discuss in a bit, X varies substantially from Schulze's prior albums. Dig It 1981 adventures with prejudice into electro-digital, registering only here and there a combo of ambiance and synth-pop.
The live is of a good quality, while the studio can divide its listeners. There are two major differences, in my opinion, the first being the quality of the bonus tracks. So the drumkit is heard only rarely in the last hour of Body Love. 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. The woodwinds and strings are quietly tuning; the conductor is approaching the podium. After a non-vertebrate Velvet Voyage, aerial and yet sunken in an encumbered ambiance, Crystal Lake is of great interest, with a polyphonic sequence that brings more alike percussion - bells and xylophones - and leaves you breathless. .
It was apparently successful from a commercial standpoint - - certainly, in 1978, Schulze was in the midst of a very successful period as a recording and touring artist. But there's more variety within X than on most of Schulze's prior albums - - and only partly because it's a double album. He also releases the soundtrack for an erotic film called Body Love, a score that's not to be missed, especially for its sequence-loaded epic P. In a sense, it seems to represent a stark acceptance of death. The music is fantastic, a piece to try being the mega-saurus Sense, that lasts 50 minutes and is charged with A-class sequences. The sequencing is soft, hidden, glacial, much like how it sounds in Rubycon by the Tangs and, off-topic, I often find enough similarities between that band's evolution and Schulze's own, inside the 1972-1975 years ; meanwhile, the space-synth atmosphere utterly dominates, not at all fevered or dry, but in true ambient, ethereal forms. For some reason - - maybe he realized that his 1976 and 1977 albums were beginning to sound more and more alike - - he created an album which made significant use of live strings and the Mellotron.
Had X consisted only of the pieces I've already discussed - - tracks 1, 2, 3, 4, and 6, it would be a five-star album. It's useful when evaluating a musical work to evaluate the composition, performance, and production or sound separately - - even though they overlap. Posted Thursday, April 11, 2019 Review 2182445 Body Love 2, we are told, is not a continuation of Body Love. So the brilliance of X was confined to one album. As is typical for Schulze's music, much of X is based on nuanced repetition or drones. The relative volumes of the sequence, the drum kit, the synthesizer pads, and the synth leads, seem to vary in some sinusoidal pattern until the rhythmic parts seem to gain the higher ground in the last few minutes. The second improvement of Cyborg over Irrlicht is in composition.
Like Schulze's debut, Irrlicht 1972 , Blackdance is comprised of three tracks, with the shortest placed between the other two. Soon the listener is left with synth pads and noise, which degrade over the last half-minute. The great Brown becomes a friend and a collaborator of Klaus Schulze even since 1977, though it results, from more selected recordings, that the two didn't approach a fantastically rich repertoire at all. Starting with Beyond Recall, the first half of the 1990s was a period when Schulze used a large sonic pallette of samples — such as screeching birds or sensuous female moans — in both his studio albums and live performances. Samplers containing only parts of previously released Klaus Schulze tracks are not mentioned here. The impulse towards Nietzsche will arise soon enough too.
This is joined a few minutes later by a drum-kit pattern played by Harald Großkopf. Discography: 1972 Irrlicht 1973 Cyborg 1974 Blackdance 1974 Picture Music 1975 Timewind 1976 Moondawn 1977 Body Love 1977 Body Love: Vol. There's already a noticeable conceptual affectio for Wagner, a thing that's under no circumstances incidental. If the rhythms of this kind, from this live, sound suspiciously open towards a more commercial or, anyway, light-dynamic electronic, nothing compares to the upcoming pleiade of beats and synthes from the 80s, years in which many classic bands faint for good, a thing that Schulze can't be accused of, even if his music isn't as good as back in the old great days anymore. The music is fantastic, a piece to try being the mega-saurus Sense, that lasts 50 minutes and is charged with A-class sequences. More significant is the wider array of synthesizers used by Schulze and the inclusion of more guest performers than usual.
That's not the case with X, on which Schulze takes whatever time he needs to develop each piece - - the tracks range in length from about 10 to 30 minutes, with an average duration of 23 minutes. The impulse towards Nietzsche will arise soon enough too. I much prefer his previous 3 albums. This is a period of many interviews, retrospectives, limited edition samples and other diverse stuff. He first of all learned to play the guitar, starring afterwards in several bands as a bassist or a percussionist.
Like Timewind, Moondawn is composed of two pieces in excess of 25 minutes each. Schulze stays under contract with the Ohr label, releasing in 1972 Irrlicht, a drone album, tough and impersonal, experimental and processed at the same time. Bayreuth Return and Wahnfried 1883 are unmistakably popular references and, most likely, any big Schulze fan can comment upon them on the spot. I'd recommend it to any fan of ambient or electronic-progressive music, and to anyone new to Schulze. In 1969, Klaus Schulze was the drummer of one of the early incarnations of Tangerine Dream for their debut album Electronic Meditation. Bayreuth Return and Wahnfried 1883 are unmistakably popular references and, most likely, any big Schulze fan can comment upon them on the spot. These are Schulze's two pre-synthesizer albums, and both use similar instrumentation.
Each section seems well-placed, each transition sensible. A fourth Richard Wahnfried, Miditation, finally sounds more like good Schulze music, going on ambient and old-stuff. At 5:57 the sequencer returns to a prior state, where it stays until it fades slowly during the song's thirteenth minute. Schulze eases on the drone style after these two works, although the same happened to many groups of the fresh electronic genre. Out of personal experience, I can comment that the first album is a hostile one, the finale of the Satz:Ebene epic being a compressed apocalypse for the human ears, whilst Cyborg is even more of a challenge, given the force of four epics that exceed 20 minutes and adopt, separately, four expressions, rhythms and agressive atmospheres from the same machined and hard-hitting style. With Mirage and X, Body Love 2 is part of Schulze's best three-album sequence. Had X consisted only of these three synthesizer-based tracks, it would be a very good, one-disk album that would have followed logically from its predecessor, Body Love Vol.