Klare, Frank

Artist: Frank Klare
P: 1997
This is a collection of tracks, made out of collaborations with other artists. Most of the tracks are unique and not to be found on other CDs. A very good Berlin School style track for example is the track together with Bernd Kistenmacher.
Mastered by Frank Klare at Sprean Music, Berlin Germany.
Track 2 taken from Traumklang CD Mystic Visions.
Track 5 lyrics by Horst Martens (Outer Space)
Track 8 original theme from Frank Klare's Solodreams produced in 1986.

This is the last copy!

Artist: Frank Klare & Ron Boots
P: 2007
"Digitalic" can be defined as pure Space Sequencer Music, with melodic atmospheres that come and go, as well as hypnotic sequencer solos in a trance key. The structure of the work is very rhythmic. The rhythms even sustain the melodies, in the shape of minimalist sequences that keep oscillating around a determined basis.
All the themes have been composed by Frank Klare, except for Digitalic Five and Digitalic Six, where Ron Boots has participated.

Artist: Frank Klare & Ron Boots
P: 2004
Frank Klare is an experienced musician from Germany who already has a long career behind him in electronic music with band like Synco and Traumklang, numerous solo releases, many collaborations and a lot of appearances on compilation albums.
“Monumental Dreams” is dedicated to the “Tangerine Tree”-project, an initiate of Tangerine Dreams fans to release all kinds of live material from this legendary band. Not surprisingly, Frank’s music has traces of that of “TD”.
The sequences and melodies on “First Movement” and “Second Movement” could have come from a TD album out of the eighties (listen to these leading chords!).
Frank has a sound of his own. This can be heard very well in the sequences he uses. The one in “Third Movement”, for example, is excellent. “Fifth Movement” is a slow rhythmic affair with soft melodies. The highlight on the album is “Sixth Movement”; here Frank creates the best sequence on the cd and this, together with the typical TD-sounds, makes this track an absolute treat. After so many years of being around in electronic music, “Monumental Dreams” could mean the real breakthrough for Frank. And then the cover: again it is a fantastic surreal and futuristic masterpiece by the Argentine artist Pablo Magne. Within some tracks, Ron Boots joins the musician and gives all the special touch.

Artist: Frank Klare
P: 1998/ 2005
You want prolific and uniformly excellent electronic music? Then Frank Klare is for you. ANALOGIC is a striking sequential Berlin School release done on analog equipment and digitally re-mastered to allow the full spectrum of sound to emerge from the mix. From his days with the Berlin trio Synco up to today, Klare has made some incredibly diverse music that ranges the full spectrum of synthetic moods and tone colors. His music reflects his mastery of the EM craft, as well as being enjoyable listening.
Frank Klare is undoubtedly an underrated artist. Mostly ignored from the larger audience of EM, he is however one of the most important jewel in Berlin School EM. Let’s take Analogic. We are dealing here with a super opus of pure analog music which travels between the oddness of Irrlicht and the voluptuous of Body Love, both from Master Schulze.
Analogic One is a charming track. Beautiful synth layers illuminate a space striate with shooting stars. Consistent, they fluctuate under a slow movement, with floating sound arabesques, like a strange ballet with dubious movements but of a sensual beauty. We let ourselves pitch and toss by this slow movement which recalls first Schulze and the musical wanders of Jarre’s Oxygen. Analogic is a pure wonder of sanalog softness. A poetic album where Klare sensitivity transforms into enchanting musical odes of a Berlin School tinted of romanticism. Without really exploring percussive rhythms, Klare divides time by offering superb analog parts which musical structures are punctuated harmonious series of arpeggios to musical tangles which come very close to nostalgic softness. In that spirit, the string of chords that winds Analog Two is of an appealing beauty.
Ikarus starts in these same floating zones. More fluid, the musical structure is struck by heavy pulsations, with looping reverberations, giving a brawler effect in a cemented space. Crazy Dance is a dance with clock movements created by a sequential pulsation of a great realism. Analogic Three is the pièce de résistance on Analogic. After a short eclectic intro, this long movement pulsates on a ramming and hypnotic rhythm where synth dandles itself on a sober sequence, whereas the percussions over sizing the cadence, as Klaus Schulzer used to do at his semi-analogue a semi – digital area. This is a great hypnotic impulse with subtle variances and a superb set of percussions. Fans of Berlin School, get your headphones and threat yourself with this amazing track. Go Ahead encloses this great opus on a more hatched rhythm. A hypnotic trance full of hammering percussions mixes with a synth filled of twisted solos. A gruff track which clashes in this universe of whirring and enveloping layers, but which is a brilliant continuity of the sublime Analogic Three.
Analogic is impossible to circumvent for any analog EM fans. Frank Klare is unquestionably a composer of talent which controls all the aspects of conservative Berlin School, with just what it takes to avoid the traps of redundancy. A superb album which will please all fans of Schulze music in, the analog area, as well as fans of great and sensitive EM.

Artist: Frank Klare
P: 1999/ 2005
This re-release of Franks CD about musical mystery themes is a kind of Synco style CD.
If you like the music of Thief by TD, this is near to that.
Sequencer based melodies and straight sololines is the right combination.
 

Artist: Frank Klare
P: 2004
This release in Frank Klare's Berlin sonic series is on the more upbeat side. Filled with crisp sequences and colorful melodic tone colors, it offers a vivid sonic expose of Berlin's exotic night life.
 

Artist: Frank Klare
P: 2003
The Berlin school theme has been a recurring one for Frank Klare, and has turned up of late in his titles. Taking this concept a step further, Berlin Parks is a not-so-veiled reference to Tangerine Dream’s classic 1985 CD Le Parc.
Rather than song titles named after world parks, Klare has kept within the confines of Berlin. And that is appropriate, given the music is strongly rooted in that style.
“Grosser Tiergarten” is a lengthy hypnotic sequencer piece. A single intricate musical phrase is repeated throughout, with the exception of key changes from time to time, and mild shifts in the variance of the notes toward the end. Punchy drum machines thump along in parts but not through all of it. The drums are a touch on the thin side, but otherwise this is great vintage stuff in the style of Schulze and TD.
“Victoriapark” starts with heavy beats and sequencing together. The drums sound better here, and there is a nice lead synth line that goes through a variety of classic sounds such as Mellotron strings.
“Treptower Park” is a touch moodier, in a good way. The sequencing here is a little TD like but actually reminds me, just a touch, of The Who’s classic song “Eminence Front”. The track is a bit more low key than the first two, and that works to its favor.
“Schlosspark Charlottenburg” is beautiful, with flowing synth pads and really nice piano by Klare, a strong composition. The diversity from one track to the next is a real plus, and makes Berlin Parks more and more enjoyable as you delve deeper into it.
By “Britzer Garten”, I am totally hooked by the great blend of synths, sequencing, and melodies.
“Mauerpark” closes things out, the longest track. The drums are too heavy-handed and the sequences don't change enough for this to work as the big epic finish that is apparently intended.
 

Artist: Frank Klare
P: 2002
“Berlin in the evening” is a rapid romp, sounds like recent Ashra live albums and the almost-Ashra album Viermal Drei. The beat and sequencing become completely mesmerizing, as the hypnotic loop and a few bongos run for several minutes unabated.  “Berlin at night” sounds like another Berlin school graduate.  Light, crystalline sequences and gentle, fast-rolling drums are just like Tangerine Dream’s Poland CD. Again this is heavy-handed on the sequences, so if you go for that sort of stuff you will be in heaven by now, with 45 minutes down and 27 still to go.
“Berlin in the morning” has scintillating classic lead lines that beg comparisons to Klaus Schulze and other pioneers of the genre.
Even more Schulze-like is “Berlin at (old) day(s)”, with a softer, more haunting quality, more strong solo synth sounds, and drums that sound as good as Harald Grosskopf did when he played with KS in the 1970s. This track is perhaps the best, with a shade more variety than the rest.

Artist: Frank Klare
P: 1995
After departing SYNCO Frank joined the band Traumklang hence the final track of this album ‘Galactic Drive’ which is attributed to Traumklang. The opener ‘Legend of the Mount’ is about as far removed from SYNCO’s trademark sequencer runs as you can get. A simple theme is picked out initially on piano, then synths accompanied by a steady rhythm. The next track is a decent synth/drums workout and this "modern" theme is prevalent throughout many of the tracks with some such as ‘Close of Time’ working very well. Others though are best forgotten and its not until the penultimate track ‘Sequence Spheres’ (taken from the afore-mentioned ‘Solodreams’) that Frank Klare shows anything like his old SYNCO form. The 15 minute ‘Galactic Drive’ is a superb closing piece with some great sequencing and finely balanced melodics. Sounds like the Traumklang album may well be worth hearing. (GG)

Here the last copy!

Artist: Frank Klare
P: 1997
His first works in a pre Synco time.
All recordings made between 1981 and 1985.
The music is somehow sequencerbased. Slow titles, all played with analogue vintage gear.
Sometimes the music reminds to the followup he made with Synco.

Artist: Frank Klare
P: 1996
It has to be said that ex SYNCO member Frank Klare released a brace of albums conspicuous by their blandness earlier in the year. The title, and the fact that four of the 6 track are specified as being improvisations, would suggest that there's room for optimism here though. 'Intro' opens brightly enough, with a heavy bass beat backed by a lively sequence. The melody is pleasant enough but after a while it becomes predictable and repetitive and consequently the track out-stays its welcome, even at only 5½ minutes. The four part 'Improvised Eternity' dominates the album, and thankfully proceedings take a marked turn for the better with the arrival of part 1. Choral refrains introduce the piece before a sequence slowly starts to take shape, backed by a foreboding drone. Simple drums and percussion also join the fray, building in intensity as the track progresses, and though variety is not the track's strong point it compensates with lots of atmosphere and imagery. Part 2 repeats the formula with a traditional style sequence underpinning choral synths straight from the Tangerine Dream archives. Part 3 confirms that Frank Klare has very much done on this album what he didn't achieve on his previous two: recapturing some of the form shown on the SYNCO 85-89 album. Overall this album does more right than it does wrong, and SYNCO fans I'm sure will welcome it. (GG)

Here the last copy!

Artist: Frank Klare
P: 1997/ 2008
The music reminds kinda of TD's 'Cyclone'. 1997 Noah Walhut aka John L. (vocals) collaborated with Frank Klare on the album KLAL! John L.'s more common collaboration was in 1971 on the Ash Ra Tempel album 'Schwingungen'. This re-release is dedicated in memory of John L. who died on 15th September 2007.

Artist: Frank Klare
P: 2003
Wonderful classic sounds are found in abundance on Memorial Dreams.
The brief “Memorial Dream 1” is vintage Jarre-like synth strings. Then we get into one of three excellent epic tracks in the 14- to 15-minute range, “Memorial Dream 2”, which blends swirling synths and piano. The piano playing is sparse, adding hints of melody and drama in just the right doses as Tangerine Dream used to do so well. Percussion arrives near the midway point as mellotron strings join in. A bit later a light bubbly sequence fades in and the track takes off. The variations in mood, tone and timbre are perfect throughout.
Equally good is the third track, a great Radio Massacre International impersonation from the accomplished sequencing to the haunting choirs at the end.
The RMI references continue on the energetic fourth number, again just stellar in the hypnotic loops. This is easily some of Klare’s best work. Majestic piano and soaring strings mellow things soothingly on “Memorial Dream 5”. Then comes the best track of all, again distilling the essence of RMI’s sound into a fantastic 15-minute package. The sequencing is edgier and more lively than the already vibrant sounds preceding it. Another standout is track eight, with a danceable beat that works surprisingly well with the rest.
Even the somewhat cute “Memorial Dream 9” works well as a lighter diversion.
Memorial Dreams is excellent from start to finish.
 

Artist: Frank Klare
P: 1997/ 2006
Moog soli and the background filled with modular sequencer music. In the style of the Berlin School mid seventies, you can find here everything you expect.
The music comes in the tradition of Airsculpture, Synco or even RMI.
 

Artist: Frank Klare
P:  2006
‘Moods’ is based on the theory that different frequencies and tones when processed by the human brain can transport the listener to a different state of mind. This CD contains 3 titles which depending upon the track being listened to, can induce a state of relaxation (Alpha Moods), stimulation (Beta Moods) or deep meditation (Theta Moods).
When listening to this music best results are achieved when headphones are used. To avoid unwanted side effects no use was made of the ‘Brain Sync Research’ extra frequencies function on this CD.
’Alpha Moods’, a composition made specifically for a scientific group for the purpose of inducing relaxation, was the building block upon which the foundation of this album has been built.
The opening track, "Alpha Moods", works within the classic sonic architecture found on albums such as Irrlicht and Cyborg. For this piece, Klare develops a deep-freeze of synthy iciness. With its revolving chord progressions and dense layers of frosty electronic timbres, the music conjures up a vast tundral expanse.
"Beta Moods" produces a prolonged energy similar to that of the more vibrant tracks on Schulze's later work Audentity. The rhythm parts build up, fill out and become insistent enough to attract the pulse of the listener. Each chord shift feels like a course correction on this wild cosmic ride.
"Theta Moods", the third and shortest track, is the most nuanced of the three, and a well-chosen pendant to the longer pieces. Here Klare rolls out sci-fi space blip and raygun blast effects which flash high above a slow current of phasing pads and hollow tones. Somber harmonies rise up and play out in a brief but epic gesture. This stark rendering of interior space is profound in its simplicity, and is a testament to the magnificence of the original.

Artist: Frank Klare
P: 1986 / 2013
Recorded 1986 at the SYNCO Studio released on self-released MC without track 1, Monomode (Part I). All tracks are recovered from the original 80s tape recordings and remastered within the realms of possibilty in 2009 by Pete Farn. Any background noise on this disc is from the original masters and is not a fault in the manufacture of this downloads.

Also available:
'Solomode' with more previously unreleased tracks;
'Monomode' with Monomode Part I and Part II mixed in one go is part of the 3-album-set only.

Artist: Frank Klare
P: 1986/ 2013
Recorded 1986 at the SYNCO Studio, Berlin previously unreleased. All tracks are recovered from the original 80s tape recordings and remastered within the realms of possibilty in 2009 by Pete Farn. Any background noise on this disc is from the original masters and is not a fault in the manufacture of this downloads.

Also available:
'Solodreams' remastered including bonus track 'Monomode (Part I)';
'Monomode' with Monomode Part I and Part II mixed in one go is part of the 3-album-set only.

Artist: Frank Klare
P: 1998/ 2006
A lot of nice guest musicians had been invited to play on this CD. It was the realization of Franks idea about the soundtrack for your dreams. So it starts where Area 2000 ended.
Composed and produced 1998 + 2006 by Frank Klare.
Mastered/Remastered 2006 by Bernd Scholl (moonbooter).
Mixed 2006 by Thomas Bechholds (valleyforge).

Special guest on e-guitar on track 15 Max Schiefele (maxxess).

Artist: Frank Klare & Thomas Girke
P: 1983 / 2003
TimeSharing was Frank Klare's first recording back in 1983. Together with Thomas Girke he composed and played his first Electronic Music. They released their professional mastered music on a C-30 music cassette. A bit quaint by today’s standards, this remastered and reissued 1983 recording has some amusing little slices from the synth time capsule. “Computer Time” has wavering synth leads and a catchy beat that propels it along. It’s an upbeat way to start. “Disco Dance” is what you might expect, a little techno pop number that does no harm, and in fact you’ll likely find yourself tapping or humming along. The synth lead does get a bit overly cute at the end, but it does seem to go with the times. “TimeSharing” starts in free-floating space mode, and stays very mellow, with some nice touches of gentle electric guitar playing. “News World” is similar to “Disco Dance” in the slightly cheesy department, but the waves of nostalgia for this style of synth music may overcome it. You rather like the sequencing and the odd mechanistic percussion in “Skytime,” as well as the synth lead which is a bit more restrained than most here. “Black Light” and “Sequencer 1” are, like most of the offerings here, upbeat and full of light-hearted energy. A reasonably fun trip 20 years back in time.