|1. Satz Ebene - Schulze Gema|
|2. Satz Gewitter - Schulze Gema|
|3. Satz Exil Sils Maria - Schulze Gema|
If this is however the first album you buy from Klaus Schulze and you want to find out about his diversity, and pick out what you like, the album "Essential 72-93" might be the best choice. Here you find tracks from a twenty year period.
His first attempts were not exactly successful, for "Irrlicht" as a musical material was not too attractive for the bosses of the recording companies. Klaus is fond of retelling the anecdote that when he played "Irrlicht" for one of the decision-makers, the latter writhed and requested that the tape stop, or otherwise he would lose his sanity. Schulze's music was then referred to as the sound of abrasive wheels screeching on metal. Indeed, that was an accurate metaphor, for one of the tracks features exactly those sounds � or at least they appear like that! Nevertheless, he was lucky to find a publisher in "Brain", an adventurous German company deeply rooted in the flower-power counterculture of the 60s. Idealistic as it was, the company later went bankrupt. However, one should not under appreciate its contribution to the development of music. Its mecenate over the wild penniless musicians allowed them to survive, and be heard. If you are not heard, then whatever the quality of your music, you are bound to fail � an old truth, indeed.
This said, we have a unique opportunity to evaluate "Irrlicht" from the perspective of exactly 20 years. Does it sound innovative? Yes. Is it pioneering? Again, yes. Was it prophetic for Schulze's career? Yes, yes, yes. In fact, this earliest recording of Klaus Schulze bears the stigma of all his works, to this day. It's highly monotonous, sometimes atonal, with themes developing very slowly over the space of several minutes. Indeed, Klaus has never failed to deliver the length � it was as if he stretched the medium to the maximum, accepted a given limit, and tried to completely fill it in. At times, he fails to deliver as much interesting material, other times, the whole album is interesting and enchanting. Whichever the case, one thing is true on Irrlicht as much as on all other records of Klaus Schulze � he remained consistent with his artistic vision of creating music which does not conform to any rules but his own, creating electronic music of meditation. Ironically, he took the Tangerine Dream album title he contributed to � as his motto. Electronic Meditation.
Originally released in 1972. Being a fan of TANGERINE DREAM from their early days, I started to pick up KS's solo albums as they were coming out (yep, that's way back in 1972).
In those days, KS was making albums that were longer than anybody else's: granted they were long pieces (generally 1 per side), but 50 minutes on a piece of vinyl was EXTREMELY rare.
This is KS' first album, and most definitely is quietest. There's the rare presence of a string orchestra, but the rest of the spacey sounds heard on the album were made by synthesizers. Quite a shock considering I knew KS as TANGERINE DREAM's drummer!
The extraordinary advantage of being able to hear this on CD is that the music, extremely smooth, without true melody or rhythm, can be cranked up without risk: no hiss, no popping sounds, no compression due to the limitations of pressing to vinyl.
KS expanded significantly his experimentation in sounds with his next effort, the double-album "Cyborg". But on "Irrlicht", it's like listening to an aurora borealis.
Just lie down, crank it up, and you'll feel like you're travelling through time and space, to an unknown and far destination...
This product's forum
Active discussions in related forums
Search Customer Discussions