Schulze, Klaus

Artist: Klaus Schulze
P: 1995 / 2005/ 2016 / 2025
This set has almost 160 minutes of pure "Klaustrophobia." That means that these three long-form compositions are full of sequences, dense atmospheres, and drawn-out synth washes. Schulze invited Manuel Göttsching, his former Ash Ra Tempel partner, to play guitar on one of the compositions, "Return of the Tempel". Each of the compositions has several movements, each relating to blue -- the color or the mood.
Schulze is in rare form on this set. It has textures and timbres of minimalism. The sequences are gentle and subtle. It had been four years since Schulze had done a regular studio album and this -- after a Wahnfried disc, a classical CD, an opera, and a live release -- is refreshing.
He shows that he is just as adept at ambient as he is at the Berlin school.
 

Artist: Klaus Schulze
P: 1985 / 1997
Originally released in 1985, Inter*Face is album no. 18 in the Klaus Schulze catalogue and is not one of his typical 80s recordings, coming across like a mixture between Irrlicht and Dune, mixing mystical orchestral soundscapes on solid rhythm ground, sans effects. The Revisited Records new deluxe edition includes the original and full length Colours In The Darkness that was edited for release on the vinyl edition and the bonus track Nichtarische Arie.
All tracks are composed and recorded in July and August 1985 by Klaus Schulze in Hambühren, Germany.
Klaus Schulze - keyboards, sequencers, percussion
Ulli Schober - Gongs, timpanies, congas
’Inter*Face’ was, in 1985, Klaus Schulze’s 18th album, which came out between the releases of ‘Audentity’ and ‘Dreams’. However, it cannot be seen as a typical Schulze album.
‘On the Edge’ is supported by pounding disco beats; peculiar sequencer dominate on ‘Colours in the Darkness’; ‘The Beat Planante’ comes across somewhat fragile with its synth sounds; and the final track, which is quite long, also holds little treasures.

Here the last copy of the original first version from Manikin!

Artist: Klaus Schulze
P: 1985/ 2016
Originally released in 1985, Inter*Face is album no. 18 in the Klaus Schulze catalogue and is not one of his typical 80s recordings, coming across like a mixture between Irrlicht and Dune, mixing mystical orchestral soundscapes on solid rhythm ground, sans effects. The Revisited Records new deluxe edition includes the original and full length Colours In The Darkness that was edited for release on the vinyl edition and the bonus track Nichtarische Arie. Re-issue in a deluxe Digipak packaging along with a 12-pages booklet full of pictures, new liner notes and bonus tracks.
All tracks are composed and recorded in July and August 1985 by Klaus Schulze in Hambühren, Germany.
Klaus Schulze - keyboards, sequencers, percussion
Ulli Schober - Gongs, timpanies, congas
’Inter*Face’ was, in 1985, Klaus Schulze’s 18th album, which came out between the releases of ‘Audentity’ and ‘Dreams’. However, it cannot be seen as a typical Schulze album.
‘On the Edge’ is supported by pounding disco beats; peculiar sequencer dominate on ‘Colours in the Darkness’; ‘The Beat Planante’ comes across somewhat fragile with its synth sounds; and the final track, which is quite long, also holds little treasures.

 

Artist: Klaus Schulze
P: 1972/ 2006 / 2016
Irrlicht is the solo debut album from Klaus Schulze (originally released in 1972) and is an absolute masterpiece in cosmic, space music. Schulze omitted the use of synthetics for this recording, relying on organ with various electronic effects to produce an absolutely mesmerizing and minimalist body of sounds that transform the listener into a total abstracted world full of mysteries within its almost never-ending spiral. With no electronic pulse and rhythms, just a gloomy and distorted atmosphere this record can easily haunt and hypnotize. Considered by many to be his finest and purest body of work, the new and definitive Revisited Records version contains the 24 minute bonus track, Dungeon and comes packaged in a deluxe digipak with new liner notes and rare photos.

Klaus Schulze first attracted attention as a member of the German progressive rock band, Tangerine Dream. Following the release of their debut LP, Electronic Meditation, he departed for a solo career. Klaus' recorded work typically features extended pieces sometimes filling an entire album built around computer-generated synthesizers and other specially programmed electronic effects. Klaus Schulze remains a cult figure in the United States, where the bulk of his prolific output has until now been available only through the import bins. He is widely considered an avant-garde mainstay as well as a founding father of both the new-age space music and electronica genres.

Artist: Klaus Schulze
P:2007
"Kontinuum" is 76 minutes of continuous music consisting of three long tracks that form one long piece of music. Musically, the album is journey into Klaus Schulze's past, present and future as a musician. Fans of his classic 70's style will definitely feel at home listening to this disc. There are also elements that will appeal to fans today's techno and trance music as well.
The entire "Kontiuum" journey begins with the appropriately title "Sequenzer (70 to 07)" with consists of the hynotic sequencer rhythms that harken back to the days of Schulze's classic "Mirage" album (notably the track "Crystal Lake"). Over the course of the track's 25-minutes, Schulze slowly adds different musical layers to the mix building the piece into a dynamic orchestral climax that only he can bring. As the main sequencer slowly fades out, we are left with nearly seven minutes of classic Schulze minor-key orchestrations that are once again reminiscent of his work in the mid-70s.
"Sequenzer" goes directly into the 20-minute "Euro Caravan" which begins with a dark low-key ambient note progression. As the music progresses, Schulze adds more chordal layers as well as a sample of woman's voice heard in the background. At around the nine minute mark, a dramatic sequencer rhythm slowly begins to fade in adding further depth to the music. Finally a techno-dance-like rhythm enters in and carries the piece the rest of the way.
As "Euro Carvan" fades out, the sound of thunder ushers in the third and final track, the nearly 32-minute "Thor (Thunder)". Echoes of Schulze's debut album "Irrlicht" are definitely apparent in the intro with long-held drones and strange ambient sounds. Once again, after several minutes, Schulze brings in the sequencers which this time, have more prominence and drive. The drum rhythms are also more aggressive as well. At around the 23-minute mark, the rhythms fade into another trademark Schulze overture similar to the one that closed the "Sequenzer" piece alongside more thunder sounds and a brief ambient coda heard during the final minute of the piece.

 

Artist: Klaus Schulze
P:2007 / 2025
Kontinuum from 2007 consists of three typical Schulze longtracks. The first track, "Sequenzer (from 70 to 7)," takes the listener back to the 1970s with its signature Schulze sequencer sounds. With "Euro Caravan," Schulze glides musically toward the present, and with the over half-hour-long "Thor (Thunder)," the electronic master takes us on a journey into the future.

Artist: Klaus Schulze
P: 2009 / 2019
New Version in Jewel Case
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 first set contains pieces recorded between 1969 and 1972 with very simple tools like the Teisco Organ - but with a big vision.

Artist: Klaus Schulze
P: 2011
LVE 10
The track "Unheilbar Deutsch" was recorded during a concert at a German radio station in Cologne, in January 1985. The second keyboard player is the studied musician and amicable friend Rainer Bloss, who worked, played, and drank with KS from 1982 to 1986. "Maxxi" is the only maxi single that KS ever did. It was recorded by KS in March 1985, on request from a record company, and "for the discos". Of course, soon afterwards it was deleted from the catalogue. As with many others, I didn't like this track when it first came out; but when I listened to it again while I thought about including it in the "Jubilee Edition" set 12 years later, I started to find it quite appealing. Sometimes music is like young wine, it has to ripen.
The tracks from "Walk the Edge" are soundtrack recordings for the American violent crime movie "Walking The Edge" (also known as "The Hard Way") by director Norbert Meisel. One of the film's producers was a friend of Klaus, Manfred Menz. KS recorded this soundtrack with the help of Rainer Bloss in May 1985.
"Havlandet" is again a soundtrack. It contains ten parts (let's call them "sketches") for the Norwegian movie "Havlandet". KS and Rainer Bloss recorded this soundtrack partly in a Stockholm (Sweden) studio in 1985. The film is by director (and script writer) Lasse Glomm; it's a drama in the northern snow-covered lands of coastal Norway: a young man is inspired by the northern lights, Aurora Borealis.
"Goodwill". This is one track from a handful of poppy experiments that Klaus did in 1991 as a kind of research exercise on popular music. Most of the results later led to the official Wahnfried album "Trancelation". Except this one. It sounds like an early version of "After Eleven" from "The Dome Event" album.
The three Spanish titles: These are encores from the concerts in Spain in October 1991. I include only the encores because the two long major titles that Klaus played at each of his five Spanish gigs were similar to the music he performed the previous month in London's "Royal Festival Hall" and which have already been released on two Virgin CDs. The Spanish encores were speciallyplanned for this tour. In one of his short announcements Klaus mentions the beautiful concert hall, and therefore I know that the first two encores are from Barcelona. The third track is perhaps from Santiago de Compostela. The recording technique was special: We recorded the music directly from the mixer and in addition with some microphones, to get the atmosphere of the hall and from the audience. Digo que: The Spaniards were a fantastic audience.
The interview on CD 2 was, by the way, made during our Spanish tour,.
The famous Bach title was played and recorded by Klaus in 1992, and remixed by him in 1993. Intended for the CD release "Midi Klassik" (called by the company: "Klaus Schulze Goes Classic"), but not used then because of lack of space.
There is another bonus track, "Weiter, weiter!" which is an encore from the concert in the German town of Aachen, from the tour in 1985.
kdm fecit, May 2008

Artist: Klaus Schulze
P: 2012
LVE 11
DISC 1: The four parts of "Film Musik" contain the complete music for the soundtrack to the 1993 German tv documentary "Spurensicherung Baudenkmäler".
DISC 2: Klaus called the 71-minute piece "Narren des Schicksals" his first symphony.It was recorded in 1992/'93 for no special purpose.
DISC 3: Track 1, "Der Schönheit Spur", is the longer version of the music Klaus recorded 1993 as soundtrack for a film about Berlin's Potsdamer Platz, and the final track ("Return in Happy Plight") is the remixed version which was actually used for the film. "Ein schönes Autodafé" was meant but not used as ballet music for Klaus' opera "Totentag".

Artist: Klaus Schulze
P: 2012
LVE 12
Part 12 of the required series of rare tracks of the German electronics pioneer!!

DISC 1: "Picasso..."  is Klaus' longest composition so far. Originally it were various 1992-'93 recordings for a film soundtrack, but the film producer could not pay for it and accordingly Klaus withdrew his collaboration and his music. For the Silver Edition release I put the music in logical order. It continues on the Disc 2.
The denomination of "Picasso geht spazieren" was "Picture Music in Three Movements" due to the fact that twenty years earlier Klaus invented the term "Picture Music" for one of his earliest albums. This description and name did still fit in 1993 ...especially with the variety of sampling pictures you'll hear while dear old "Picasso Takes a Walk".

DISC 2: In 1995, '96, '97, '98, '99 and also in the year 2000 the more than two and a half hours long (!) "Picasso geht spazieren" was elected by the members of "The KS Circle" among the top ten of the most popular of the many KS titles, the highest position was number 3 in 1997.
Words from the booklet of the original release: In terms of time, the history of Electronic Music is essentially limited to the twentieth century -in terms of a successful work inside this genre just to a handful. In terms of struggle for the new and unknown to a few, if not to just one. Though Klaus Schulze may not have the trained piano playing craft that other players outside his genre have, he gives, I think, far more poignancy, tenderness, and feeling, yes I dare to say: Soul. The truth of an artist is as simple as that: He puts his soul into his work.

DISC 3: The original tape of "The Music Box" had the working title "Meditation I" first. Klaus recorded it in 1993 and gave it for free to the "Guttemplers", an institution that helps alcoholics. For the first release in Silver Edition I had given it the full title "The Music Box -Tongemälde in fis-moll" (Sound picture in F sharp minor). PS: Of course I had the famous movie in mind when I invented the title "The Music Box", yes I speak of Laurel and Hardy's only Oscar winning epos (the one with the piano up (and down) the many many steps). I did put some other Laurel and Hardy titles and references in Silver Edition. Not just KS believes that the two (and also W.C. Fields) were true geniuses, they put their souls into their work.

KDM