Schulze, Klaus

The pioneer of electronic music and one of the first artists that introduced the Berlin school style.
His music is timeless.

Schulze, Klaus
Klaus Schulze - La Vie Electronique 2 ,

Artist: Klaus Schulze
P: 2009 / 2019

Originally part of the Ultimate Edition.
What started as an experiment has increased to a giant sound cosmos over the years. On "La Vie Electronique" you have the chance to experience this progression with rare recordings that haven't been released on the regular albums.
"La Vie Electronique" was first published as a strictly limited 50 CD-Box and will be released now in chronological order in 3CD-sets including some material never released before.

This second set contains pieces, which have been recorded between 1972 and 1975. "North of the Yukon" and "Study for Philip K. Dick" are from another historic tape with no date or other markings, with no real start and no end.
This recording probably dates, as evidenced by the heavy sound of Klaus's old electric Teisco organ, to which he added some strange sounds, similar to those he used on “Electric Love-Affair”.

 

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Klaus Schulze - La Vie Electronique 3

Artist: Klaus Schulze
P: 2009 / 2019

Originally part of the Ultimate Edition.
What started as an experiment has increased to a giant sound cosmos over the years. On "La Vie Electronique" you have the chance to experience this progression with rare recordings that haven't been released on the regular albums.
"La Vie Electronique" was first published as a strictly limited 50 CD-Box and will be released now in chronological order in 3CD-sets including some material never released before.

This Set 3 contains recordings between 1975 and 1977.

18,90 EUR
 
incl. 19% tax excl. Shipping costs
Klaus Schulze - La Vie Electronique 4

Artist: Klaus Schulze
P: 2009 / 2019

Originally part of the Ultimate Edition.
What started as an experiment has increased to a giant sound cosmos over the years. On "La Vie Electronique" you have the chance to experience this progression with rare recordings that haven't been released on the regular albums.
"La Vie Electronique" was first published as a strictly limited 50 CD-Box and will be released now in chronological order in 3CD-sets including some material never released before.

This Set 4 contains recordings of the years 1975 and 1976.

19,90 EUR
 
incl. 19% tax excl. Shipping costs
Klaus Schulze - La Vie Electronique 5

Artist: Klaus Schulze
P: 2010
LVE 5

Originally part of the Ultimate Edition. Plus new unreleased track: "For Barry Graves" 15:38.
"La Vie Electonique" Vol. 5 contains music of the years from 1976 to 1977.
“Berlin Schöneberg“ was recorded in 1976 at a Berlin radio concert, "Vie de rêve" is a concert from the same year, recorded in Reims in France.
„Nostalgic Echo "and "Titanische Tage” are also solo concerts from 1976.
A year later “For Barry Graves” has been recorded - a short concert for the West German Radio broadcasting show „music extra 3“.
„The Oberhausen Tape“ is a concert from 1976 (you will find the second part of this concert on "La Vie Electronique 6"). Finally, “The Poet” is a typical piece of the "Moondawn" era.

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Klaus Schulze - La Vie Electronique 5

Artist: Klaus Schulze
P: 2010 / 2018
LVE 5

Originally part of the Ultimate Edition. Plus new unreleased track: "For Barry Graves" 15:38.
"La Vie Electonique" Vol. 5 contains music of the years from 1976 to 1977.
“Berlin Schöneberg“ was recorded in 1976 at a Berlin radio concert, "Vie de rêve" is a concert from the same year, recorded in Reims in France.
„Nostalgic Echo "and "Titanische Tage” are also solo concerts from 1976.
A year later “For Barry Graves” has been recorded - a short concert for the West German Radio broadcasting show „music extra 3“.
„The Oberhausen Tape“ is a concert from 1976 (you will find the second part of this concert on "La Vie Electronique 6"). Finally, “The Poet” is a typical piece of the "Moondawn" era.

 

16,90 EUR
 
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Klaus Schulze - La Vie Electronique 6

Artist: Klaus Schulze
P: 2010
LVE 6

Originally part of the Ultimate Edition.
Inside the Harlequin is included here in its complete version, before it was only [12:19].
BarracudaDrum is previously unreleased.
CD 1, on the one hand, contains the second part of the Oberhausen-concert, with "Schwanensee" on the other: two solo pieces which were recorded in 1976 in the studio in Hambühren.
"Fear at Madame Tussaud's" was recorded in April, 1977 in the London planetarium – at that time a novelty, for it was the first time that a concert was held in a planetarium.
"Zeitgeist" is a concert which was recorded on October 17Th , 1977 in front of 5500 people in the Saint Michael cathedral in Brussels, "Inside The Harlequin" is the encore of this evening.
The recording date of "La Vie Secrète" cannot be exactly determined after all years any more. Recorded either in 1977/78 or 1975 this piece remains a very quiet, almost meditative jewel.
In contrast to this stands „Barracuda Drum“, recorded about 1978 with Harald Grosskopf on drums. Last but not least at the end of the third CD we encounter the Klaus Schulze of 1979:
In October and November that year Klaus Schulze was on tour with Arthur Brown ("Fire"). "There was Greatness in the Room" is a fragment of the encore of concert from October, 29th 1979 in Brussels. The specific thing about this recording: Beside the voice of Arthur Brown the vocoder-voice of Klaus Schulze is also to be heard …

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Klaus Schulze - La Vie Electronique 6

Artist: Klaus Schulze
P: 2010 / 2018
LVE 6

Originally part of the Ultimate Edition.
Inside the Harlequin is included here in its complete version, before it was only [12:19].
BarracudaDrum is previously unreleased.
CD 1, on the one hand, contains the second part of the Oberhausen-concert, with "Schwanensee" on the other: two solo pieces which were recorded in 1976 in the studio in Hambühren.
"Fear at Madame Tussaud's" was recorded in April, 1977 in the London planetarium – at that time a novelty, for it was the first time that a concert was held in a planetarium.
"Zeitgeist" is a concert which was recorded on October 17Th , 1977 in front of 5500 people in the Saint Michael cathedral in Brussels, "Inside The Harlequin" is the encore of this evening.
The recording date of "La Vie Secrète" cannot be exactly determined after all years any more. Recorded either in 1977/78 or 1975 this piece remains a very quiet, almost meditative jewel.
In contrast to this stands „Barracuda Drum“, recorded about 1978 with Harald Grosskopf on drums. Last but not least at the end of the third CD we encounter the Klaus Schulze of 1979:
In October and November that year Klaus Schulze was on tour with Arthur Brown ("Fire"). "There was Greatness in the Room" is a fragment of the encore of concert from October, 29th 1979 in Brussels. The specific thing about this recording: Beside the voice of Arthur Brown the vocoder-voice of Klaus Schulze is also to be heard …

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Klaus Schulze - La Vie Electronique 7

Artist: Klaus Schulze
P: 2010
LVE 7

“Re: People I Know” is the first of the two long pieces that Klaus played during his Düsseldorf concert on the 30th of September 1977. It's similar to the highly valued piece that KS played around the same time in Brussels' St. Michaels cathedral.
“Avec Arthur”: During the lengthy 1979 tour, Klaus played a long solo piece that filled the first half of the concerts as usual. After the intermission, the singer Arthur Brown joined him for the second piece. This is one of those energetic second halfs. Arthur could be, and was often, very high-spirited, very good, I dare say even excellent. As here, on the 25th of October 1979 in a youth club of the Belgian town of Liège. During the peaceful part after the break (and his famous roar)Arthur sings partly in French. Merveilleux!
My diary reports: "Small youth club, jam packed. Good concert."
“Crazy Nietzsche” is loosely based on Klaus' well-known "Friedrich Nietzsche" title from the “X” recording session. As on the “X” tracks, the drumming is by the great rhythm man Harald Grosskopf. First, Klaus recorded Harald's familiar solid pulse, and for the middle part - “Asketische Ideale” - he was asked to add some floor toms' playing. As usual during that blooming Schulze era, also this track was recorded at the Panne-Paulen studio in Frankfurt. After listening to the music for the first time after many years, Klaus told me it must be a live recording because of the sound of the Korg PS 3300 that he only played in concerts not in a studio. Hm.Judge by yourself.
“The Future”: From circa 1978. A grave, full-sounding masterpiece. The music reminds of "Dune" but it is without the usual cello sound of this classic album. Hear Klaus on vocoder at the very end: “Just Imagine”.
As KS remembered, the music of “My Virtual Principles” with its abstract but beautiful sounds was an alternative attempt on the ‘Barracuda’ film soundtrack which wasn’t used then. Besides his usual electronics, the percussion instruments are also played by KS. Part of Klaus’ drumming is from a 1970 (!) tape, treated with an ‘Analogue Harmonizer’; his organ playing is from a 1972 tape. The cello is played by Wolfgang Tiepold, and the gipsy fiddler is the same as on the “X” album. The old and new recordings, the mixes and treatments were done by KS in late 1977 or in January the following year, at the already mentioned studio in Frankfurt, with the very helpful hands & brain of Eberhard Panne.
“Die Erde ist rund” was taped during the lengthy 1979 tour. It is the encore of the concert given in the German town of Koblenz on the 22nd of October. My diary says the following about this gig: "22.10. Koblenz. Viele klatschende Echos in der Halle. Grosse Bühne. Enthusiastisches (Rhythmus)Publikum. Erste Zugabe nur etwa 10 Minuten lang, zweite nicht mehr, da Publikum allzu unruhig und rockig" (22 October, Koblenz. Sadly, the hall has a shattering sound (slapping echoes).

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Klaus Schulze - La Vie Electronique 8

Artist: Klaus Schulze
P: 2010 / 2018
LVE 8

During the years 1977-1983 Klaus Schulze recorded some of his more introspective works. Albums like MIRAGE, DUNE, and DIG IT saw a significant change in his style of playing and his way of composing. While Schulze was quickly expanding his collection of synthesizers, that ultimately had its effect on the outlook of the music and the possibilities of performing that in a more exquisite way. Play a track like “Synthasy” and notice that Schulze has come a long way since TIMEWIND and MOONDAWN. On this 8th part of LA VIE ELECTRONIQUE there’s a selection of stuff that was archived beside his official albums in those years. A large part of this 3CD-set forms the appearance of concert recordings (made on a cheap, but stereo radio cassette recorder) from Klaus’ 1979 tour with singer Arthur Brown. Besides the recordings that made up three sides of his monumental “...LIVE...” album that was released in 1980, there were plenty of other versions available of the material that Schulze played during the fall of 1979.
The concert that the two did on October, 24th in the auditorium of the Technical University in Brussels captures the energy and passion of what the unique combination of Schulze-Brown was about. “Faster than Lightning”, that formed the second set that night, says it all. Before the intermission, Schulze is certainly in the mood during “Dans un jardin”, while crafting musical landscapes, playing soulful solos on his Minimoog, also on a pair of electronic bongos, and setting a more darker tone during the last two movements. There’s more of this beautiful gig elsewhere in this set.
The “Hitchcock Suite” must have been something of a buried treasure in KS’ archives for many years. A four-part composition, in which all the elements of Klaus’ 70s sound are to be found.
From the eerie sounding first two parts to the more sequenced orientated latter parts, it’s like a transitional piece altogether. There are moments that are reminiscent of material from BODY LOVE 2, MIRAGE, but also DUNE. Recorded around 1977/1978, you can actually hear that Klaus is looking for a new direction and is trying to head for the more experimental phase in his late 70s analogue years. For instance, the opening sounds of the “Tippi Hedren”
part originate from the Yamaha CS 80, a synthesizer that was a real revolution in the year that it was released, 1977.
I suspect that the “Hitchcock Suite” is one of the first pieces in which Klaus is using this mighty (and heavy!) instrument. From then on, the CS 80 was used by Klaus extensively on records as well as during concerts, mostly as solo instrument (for instance the hard attacks during “A Few Minutes After Trancefer” on the 1981 TRANCEFER album) or as a way to set the tone or the pace of a lengthy and enduring concert piece.
After forty minutes of studio glory, the second CD of this three-CD set features more concert recordings from the 1979 tour. Both “L’affaire Tournesol” and “Bona fide” are encores of concerts played respectively in Brussels (October, 24th) and Aalst (October, 26th). Both share the same type of sequence, but obviously bare their own signature.
In "L'affaire Tournesol", Klaus builds up the basic track step by step, making room for an almost choral sounding Minimoog solo, which doesn't sound as harsh as some of his solo playing during concert performances in the early eighties, but it does have the power and the climaxing notes to round it off and bringing the rhythmical piece to an extraordinary ending, using string sounds coming out of the Korg PS 3300. Klaus must have had a jolly good concert that night. On contrary, “Bona fide” is not as prolific and significant and gives the feeling that Klaus was probably a bit in a hurry that night. CD 2 is rounded off by a fragment of a radio interview that took place on November 26th, 1980, two days before Klaus’ gig with Tommy Betzler (percussion) and Manuel Göttsching (guitar) at ‘Voorst Nationaal’ in Brussels. In the program ‘Kaleidofoon’ he is asked by interviewer Paul Verkempinck about the usage of the GDS computer in his concerts. Actually, that particular gig was pretty radical for the ‘old style’ Schulze fan, when taking notice of the reactions in one of the first KLEM magazines that came out shortly after the gig. “Schulze just played plain rock music”, “Klaus is directionless and lacks inspiration”…., to name just a few. Interesting: in 1980, Klaus Schulze was just at the start of his long journey through the digital age. The DIG IT record was a child of its time and opened doors for more experimentation on synthesizers such as the CS 80, PPG Wave and Fairlight, all recorded in glorious digital sound….
In addition, Klaus got more into drum programming too, partly due to his work with percussionist Michael Shrieve, as heard on CD 3. “I Remember Rahsaan” and “A Quick One” are variations on
“Silent Running”, the mighty second side of his monumental TRANCEFER album that came out in 1981. Also worth of mention is the flute and sax playing of Steve Jolliffe, the guy that was part of Tangerine Dream’s line-up of 1978 and left the band after a fight on stage with TD’s mastermind Edgar Froese during the last concert together in London in March 1978. The ‘little things’ that Jolliffe did with Schulze (and of which a longer part was released on the Wahnfried “Miditation” album in 1986), are nice, but not of great mention. They lack a certain ‘click’ between Steve and Klaus. “Count Me In” features elements from “Spielglocken” and “Tango Saty”, which appeared on the AUDENTITY album (1983), including the Simmons drums and the EEH drum computer, played and programmed by Shrieve. “Zugabe Timbales” is actually the backing track of the encore that was performed by Klaus and his guest Manuel Göttsching on the fall 1981 tour throughout Europe.
“Keep Up with the Times” is reminiscent of the backing track that was used for the first main part of that same concert tour: a powerful endeavour and the ideal soundtrack for a long Autobahn drive. Finally, how far Schulze went during concerts can be heard on “The Martial Law”, where he gives it all on the Minimoog. What a contrast, compared to the elegant “L’affaire Tournesol” on CD 2. Just listen and be careful: this is angry, but melodic stuff in the typical Schulze eighties way!
The late seventies/early eighties’ work of Klaus Schulze is often overlooked and underrated by many. Hearing the material featured on this 3CD-set, one can discover the ‘other side’ of that particular period when analogue was still there, but digital was about to become the power to be.
And so on…


 

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Klaus Schulze - La Vie Electronique 9

Artist: Klaus Schulze
P: 2011
LVE 9

The three tracks on the first CD are a complete Schulze concert in Budapest:
Budapest on the 21st of October 1982 in a huge sports arena, with Rainer Bloss on additional keyboards, but mainly he plays the electric piano. This was the only concert that was actually done from a scheduled tour through south-east Europe, together with Tangerine Dream, Rick Wakeman, KS, and Classix Noveaux with Thomas Dolby. For some reasons this tour never did happen, except for a few independent lone concerts.  Such as this one..
The first title played in the Hungarian capital is based on Klaus' famous "Ludwig" title from the album "X". The second Budapest title "Peg Leg Dance" is a very hectic and techno-like piece. Here I suggest two things: first, press your "loudness" button, and second, watch for Klaus' famous Minimoog solo.
"Die spirituelle Kraft des Augenblicks" (The spiritual power of the moment) is still the Budapest concert. The encore. The announcement is made by Klaus Schulze.
The studio track "Verblüffe sie!" is a bizarre and astonishing piece of music with its heavy beginning and soft ending. It must have been recorded by Klaus around 1985, ...because it's from a PCM recording and Klaus used that recording tool only during the mid eighties.
"Seltsam statisch": I found this on a tape that was marked "Katowice 1983". Marks, notes, or titles written on Schulze's tape boxes are only sparsely in relation to the actual music which is to find on the tape. This is another of such misleading cases; I doubt that it was recorded at Katowice or any other concert during Klaus' outstanding tour of Poland. It is most likely a studio recording from around this period. The long steady beat is kind of hypnotic.
"Kompromisslose Invention" is a track from a tape called "KS Solo Session LP" - whatever means this again. It is just abstract and heavy sounds, and it's done as perfectly as only KS can do it. Recorded in the mid 80s. It's far from being à la mode... but who knows what will be fashionable in the next season? (PS: Originally, this text was written in 1997 for JUBILEE EDITION)
"National Radio Waves" I found again on a PCM cassette with no further inscription except for the word: "Interessant". I love those helpful hints! It was recorded by KS in his studio in Hambühren, again during the mid eighties. It's probably just the "PPG Wave 2" and the rhythm computer.
"The Midas Touch" is nothing but a very catchy rhythm (have I already mentioned that KS is a master with rhythm?), some sounds, and a voice (certainly not Klaus'), and again it's from the mid eighties.
kdm fecit, May 2008


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Klaus Schulze - Le Moulin De Daudet

Artist: Klaus Schulze
P: 1992 /2005

Nr.: 37
This is a studio soundtrack album Klaus Schulze recorded on his own in 1994, for the French movie "Le Moulin De Daudet".
Track 12 on the album was not used in the film, and the sixteen-minute bonus track : Schulze recorded "Ion Perspective" in early 2004 for use on a promotion CD.
It was released during the Frankfurt music fair 2004 in a limited edition of only 300 copies. This Klaus Schulze album is now available for the first time outside of France, and comes housed in a stylish 6-page digi-pak with enhanced booklet and totally new artwork.
The music has been carefully transferred from the original analogue master tapes.

18,90 EUR
 
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Klaus Schulze - Le Moulin De Daudet

Artist: Klaus Schulze
P: 1992 /2005 / 2018

This is a studio soundtrack album Klaus Schulze recorded on his own in 1994, for the French movie "Le Moulin De Daudet".
Track 12 on the album was not used in the film, and the sixteen-minute bonus track : Schulze recorded "Ion Perspective" in early 2004 for use on a promotion CD.
It was released during the Frankfurt music fair 2004 in a limited edition of only 300 copies. This Klaus Schulze album is now available for the first time outside of France, and comes housed in a stylish 6-page digi-pak with enhanced booklet and totally new artwork.
The music has been carefully transferred from the original analogue master tapes.

18,90 EUR
 
incl. 19% tax excl. Shipping costs
Klaus Schulze - Live

Artist: Klaus Schulze & Harald Großkopf
P: 1980 / 2007
/ 2016
Recorded live during concerts in Amsterdam 1979, Berlin 1976 and Paris 1979.
Drums on Track 2: Harald Großkopf
Voice on Track 4: Arthur Brown
All tracks conveiced, composed, performed live, mastered & edited by Klaus Schulze

Taken from the Booklet:
"..I own the original and complete Kunstkopf recording from the track that we recorded in Berlin, and I glady handed it over for this release. So, here you have now the complete 51 minutes of the title SENSE, instead of the shortened LP version of just 31 minutes..."
1995. KDM

The bonus track "Le Mans au premier" is the first 18 minutes from the concert in the "Abbaye de l'Epau" outside of Le Mans, France, which took place during the tour in October and November 1979.
2007. KDM

 

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Klaus Schulze - Live @ KlangArt

Artist: Klaus Schulze
P: 2001 /2008
Nr.: 90
Live @ KlangArt was recorded during a concert in Osnabrück on the 9th of June 2001.
The bonus tracks are studio recordings from the years 2000 and 2007.
The titles 2 and 3 of CD #2 are composed by Schulze/Tiepold.
All other titles by Klaus Schulze, Live @ KlangArt (as a double CD, containing Live @ KlangArt 1 and Live @ KlangArt 2, with a newly recorded bonus track of 12:23

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Klaus Schulze - Live @ KlangArt

Artist: Klaus Schulze
P: 2001 / 2008 / 2016

Live @ KlangArt was recorded during a concert in Osnabrück on the 9th of June 2001.
The bonus tracks are studio recordings from the years 2000 and 2007.
The titles 2 and 3 of CD #2 are composed by Schulze/Tiepold.
All other titles by Klaus Schulze, Live @ KlangArt (as a double CD, containing Live @ KlangArt 1 and Live @ KlangArt 2, with a newly recorded bonus track of 12:23

19,90 EUR
 
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Klaus Schulze - Miditerranean Pads

Artist: Klaus Schulze
P:
1989/ 2005
Nr.: 21
Originally released in 1990, Miditerranean Pads commands attention and consumes the senses immediately with it’s sampled vocals and carefully orchestrated bass lines. This release is heavier on the percussive side, as it becomes obvious Schulze took cues from his former collaborator, drummer Michael Shrieve. The listener is asked to take an active part on this record; don't just pop the disc in while washing dishes and expect to be magically transported! It is as interactive as it is conducive to one's individual journey. If you've found some of Schulze 's earlier work too abstract, this title will appeal to you!
DeLuxe Edition incl. enhanced booklet with new photos & liner notes
Recorded August 1989, Hambühren, Germany
Klaus Schulze & Georg Stettner - keyboards
"Elfi Schulze" - voice
Is too long for a bonus, but the first track is 1:50 longer.

17,90 EUR
 
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Klaus Schulze - Miditerranean Pads

Artist: Klaus Schulze
P:
1990
Originally released in 1990, Miditerranean Pads commands attention and consumes the senses immediately with it’s sampled vocals and carefully orchestrated bass lines. This release is heavier on the percussive side, as it becomes obvious Schulze took cues from his former collaborator, drummer Michael Shrieve. The listener is asked to take an active part on this record; don't just pop the disc in while washing dishes and expect to be magically transported! It is as interactive as it is conducive to one's individual journey. If you've found some of Schulze 's earlier work too abstract, this title will appeal to you!
DeLuxe Edition incl. enhanced booklet with new photos & liner notes
Recorded August 1989, Hambühren, Germany
Klaus Schulze & Georg Stettner - keyboards
"Elfi Schulze" - voice

Here the original first release on Brain!

 

14,90 EUR
 
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Klaus Schulze - Miditerranean Pads

Artist: Klaus Schulze
P:
1990/ 2005
Originally released in 1990, Miditerranean Pads commands attention and consumes the senses immediately with it’s sampled vocals and carefully orchestrated bass lines. This release is heavier on the percussive side, as it becomes obvious Schulze took cues from his former collaborator, drummer Michael Shrieve. The listener is asked to take an active part on this record; don't just pop the disc in while washing dishes and expect to be magically transported! It is as interactive as it is conducive to one's individual journey. If you've found some of Schulze 's earlier work too abstract, this title will appeal to you!
DeLuxe Edition incl. enhanced booklet with new photos & liner notes
Recorded August 1989, Hambühren, Germany
Klaus Schulze & Georg Stettner - keyboards
"Elfi Schulze" - voice
Is too long for a bonus, but the first track is 1:50 longer.

 

16,90 EUR
 
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Klaus Schulze - Mirage

Artist: Klaus Schulze
P: 1977/ 2005 / 2016

Mirage, initially released in 1977, is often cited as one of Schulze’s best albums. The album is a strange pastoral landscape creating a frozen wonderland with vast shifts in color and texture, rather than the layered melodic and harmonic structures of Schulze’s previous albums. Mirage consists of two main pieces, Velvet Voyage and Crystal Lake, each broken down into six separate and chilling movements. The previously unreleased 20 minute epic In Cosa Crede Chi Non Crede? has been added as a bonus track to the new edition.

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Klaus Schulze - Mirage (Vinyl)

Artist: Klaus Schulze
P: 1977/ 2009

Here the vinyl version of this classic.
Mirage, initially released in 1977, is often cited as one of Schulze’s best albums. The album is a strange pastoral landscape creating a frozen wonderland with vast shifts in color and texture, rather than the layered melodic and harmonic structures of Schulze’s previous albums. Mirage consists of two main pieces, Velvet Voyage and Crystal Lake, each broken down into six separate and chilling movements.

28,00 EUR
 
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