Klaus Schulze - In Blue (Jewel Case)

Artist: Klaus Schulze
P: 2010 / 2022
LVE 5
Now in a Jewel Box
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.
 

Artist: Klaus Schulze
P: 2010 / 2022
LVE 6
Now in a Jewel Case.
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 …

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.