Klaus Schulze - Topic

A collection of top songs featuring Klaus Schulze.

Universally recognized as one of the front-running pioneers of electronic music, Klaus Schulze appeared in the early days of analog synthesizers as one of the first to master their electronic pulses, waves, and gurgles. Through his groundbreaking (and prolific) solo recordings as well as work with other artists, Schulze dedicated decades to the development and definition of his genre. Shadowlands joins his lengthy solo discography, with five new extensive studio recordings experimenting with both long-form ambient synth explorations and processed human vocals. ~ Fred Thomas, Rovi

Like the other three Ballett albums, Ballett 2 was first released in 2000 as part of the ten-CD box set Contemporary Works 1 and later reissued as a single CD in Revisited's career-encompassing reissue program (number 87 in that series). Klaus Schulze composed the Ballett cycle for his mother, who used to be a ballet dancer. Ballett 2 is a continuous, 74-minute piece in four segueing movements. "Atmosphère Concrète" starts off in a disquieting and rather abstract mood. Schulze has never been known for doing musique concrète -- his first solo LP, Irrlicht, was definitely abstract, and he often pushed his music into experimental territories, but he never openly delved into Pierre Schaeffer's heritage and lineage. However, "Atmosphère Concrète" (at eight minutes) does, indeed, evoke a concrète atmosphere, with lots of textural sounds, found sounds, and the voice and flute of Thomas Kagermann. The piece eventually resolves on the theme of "Kagi's Lament," a slow-paced, introspective dirge. The arpeggiated keyboard arrangements give the piece a certain Jean Michel Jarre feel. The "lament" mood is marvelously pinned down and there is no denying the piece's sorrowful beauty, but it runs out of ideas long before it reaches its 30-minute mark. The same is also true of "Wolf's Ponticelli" (24 minutes). Here, though, the electronics are classic Schulze. Wolfgang Tiepold's cello interventions, along with the scope, breadth and development of the piece, all point to the mastermind's main '70s opuses. This piece also picks up the pace, leading to the final part, "The Smile of Shadows," where the pulse turns into a trance beat, bringing us back into the late '90s, with Kagermann's bamboo flute adding a worldbeat element. This last section was mixed by Tom Dams and it bears his mark. The Revisited reissue adds a short bonus track, "Trance 4 Motion," first released on Essential Extracts, a little-known CD produced to promote the Contemporary Works 1 box set. It provides a nice postlude to "The Smile of Shadows," matching its beat and "chill room" feel. ~ François Couture, Rovi

Beyond Recall is Klaus Schulze's 23rd album. He sticks to a tried-and-true formula and incorporates sequences, samples, atmospheres, riffs, and melodies into his sound design. And there is no theme that is particular to this CD. There are five pieces, and each piece has its own thematic integrity. Schulze had fun making this CD, and he invites listeners to share the fun. This disc will appeal to fans of Edgar Froese, Christopher Franke, Steve Jolliffe, Johannes Schmoelling, and Paul Haslinger. ~ Jim Brenholts, Rovi

Each track on X or "Ten" (since it's Schulze's tenth release ) is titled after famous German personalities, but it's the provocative electronic music within the names that makes this one of his best albums. On this two-CD set, Schulze's sequencer is joined by electric guitar and drums, that pleasingly brings an earthy, simplistic feel into his pastiches. Still captivating and alluring with his multi- keyboard entourage, the tracks each exhibit a personality all their own. "Friedrich Nietzsche" is the most vibrant of all six, harboring a complex but attractive aura. The 24 minutes of this synthesized voyage involve imaginative sculpturing using both the Moog and Mellotron. Extreme washes of sturdy tones and pulses make up this wonderfully crafted track, one of Schulze's best. In the same manner, the rest of the album is pure electronic bombardment. With 12 different types of sequencers and synthesizers molded, merged, and fused together, the musical landscape created is overwhelming. On both the 29-minute "Ludwig II Von Bayern" and the equally lengthy "Heinrich Von Kleist," a foreign atmosphere is bred through the multitude of variable electronics, both of the guitar and keyboard type. As each track begins to take shape, the music is dissected and laid out, but not before it forms lasting images and intricately conveys mood. A true pioneer at his craft, Schulze's X is one of the more definitive albums of his career, since it's length and instrumental combinations make for a multifaceted electronic piece. ~ Mike DeGagne, Rovi

Dig It is a pure Berlin school CD by Klaus Schulze. Deep sequences, persistent rhythms, metallic atmospheres, and sci-fi sound effects dominate the sound design. Schulze uses only electronic instruments to construct these psychedelic walls of sound. This album is from 1980, during an era when this kind of e-music had no real home. It is too heavy for new age and too avant-garde for rock & roll. But it has distinct rock & roll influences. There are definite similarities to '60s acid rock and progressive rock from the late '60s and early '70s. It is more intricate and complicated than those styles, but the echoes don't lie. This is a very interesting CD with a cool retro sound. It will appeal to fans of early Pink Floyd and early Tangerine Dream. ~ Jim Brenholts, Rovi

Thunderbolt chose to combine Mirage and Angst for a unique Klaus Schulze two-fer. Mirage is one of Klaus Schulze's best albums; it is certainly among the eeriest e-music sets ever. He created it as "an electronic winter landscape dedicated to Hans Dieter Schulze." It has somewhat of a symphonic structure; there are two main pieces: "Velvet Voyage" and "Crystal Lake." Each piece has six separate movements with experimental sounds serving as the recurring themes. The album has cold and icy textures that take listeners to the brink of the winter solstice. The experimental timbres give the set a sci-fi feel. Angst is a unique soundtrack for a documentary film about judicial scandal in Austria, and it is inconsistent. The music came first and the film was edited to fit the soundtrack, so the score drives the film. Klaus Schulze called upon his many influences to build this project. The primary style is Berlin school, but Schulze uses his symphonic synths, his classical training, and his atmospheric sensitivity as well. For the most part, it does work as a stand-alone musical event, but loses some of its impact with the rhythmic pieces. They have drama and mystery and are, undoubtedly, important to the score -- they just don't stand alone. All that being said, the strength of Mirage and the strong tracks on Angst make this a great set and a good starting point for a Schulze library. ~ Jim Brenholts, Rovi

The prolific Klaus Schulze has albums available in many different iterations. While he has done no remix albums, he has remastered his vinyl and cassette material for digital compact discs. Many of those are available as two-fers. Trancefer/Dig It is one of those packages. And while there is no such thing as a bad Schulze album, some are not as strong as others. Both of these albums are good. This is a good package and a good value, but there are better CDs and packages by Schulze. ~ Jim Brenholts, Rovi

The third in Klaus Schulze's series of three-disc compilations of live and rare material (all of it previously released in his 50-disc Ultimate Edition box from 2000) is pure bliss for fans of early-'70s analog synthesizer music. The melodies swoop and whoosh like comets passing by a slowly drifting space station manned by dudes and ladies in unisex jumpsuits with long, perfectly coiffed hair, and beards on the men. Close your eyes and you're there. Many of these tracks are grouped into half-hour suites, but at the same time the whole nearly four-hour document can be seen as one solid piece of art, or a shaving from a vast iceberg. Schulze's droning pulses are like the rhythm of the universe, unending and, while beautiful, totally inhuman. If Kraftwerk was the sound of musicians attempting to become machines, Klaus Schulze's work is the sound of one musician attempting to become a planet. The beeping rhythms, like a heart monitor, provide a slight anchor to keep one from floating away completely as this music spins itself out in ever wider spiraling arcs across endless vistas of empty space, but the ultimate effect is near-total trance. ~ Phil Freeman, Rovi

Thunderbolt has been reissuing Klaus Schulze's older albums as two-fers. They package two of them together and charge one and a half times the regular price of a single CD and everybody is happy, especially new Schulze fans. Picture Music/Body Love is one of the strongest of these packages. Picture Music, from 1975, features two long-form compositions in the truest Berlin school fashion. It has deep and spacious sequences and dense atmospheres. It is laid-back and borders on ambient. In and of itself, it is a great CD. As good as that one is, Body Love, from 1977, is stronger. Heavy atmospheres and symphonic synths compliment deep sequences, sci-fi sound effects, and harsh samples. The soundscape rolls into classic Berlin school analogia. This disc would rate as a pick by itself. As a package, Picture Music/Body Love is an excellent starting point and essential for new Schulze fans. ~ Jim Brenholts, Rovi