Limited to 300 hand-numbered copies. The Schulze-Schickert Session in Hambühren on 26 September 1975 with the Godfather of electronic keyboard music Klaus Schulze and the echo guitar pioneer Günter Schickert
Before fading away into obscurity, Klaus Schulze had a few more great albums in him. Dig It is the first of those and a must-have for fans, especially in the re-issued 2005 version…
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. Blackdance is one of Klaus Schulze's early albums. There are lots of predictors that point to where his career would go. The tempo changes are smooth and sure and the sequences are varied - some are deep and strong, others are long on atmosphere. Schulze mixes these elements seamlessly with experimental timbres and spatial textures. He adds an organ drone to give the disc a Baroque attitude and sinister overtones. This is more atmospheric than most of his albums. That gives it a nice appeal and a cool change of pace.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. "Moondawn" is one of the true classics of the genre. For many serious listeners, this was the first and/or most important electronic music purchase. There is good reason for such sentiment - this is a great album. It is definitely hardcore Berlin school electronica and much more. Like his contemporaries, Schulze added some extra flair to his style. This album has loads of ambient atmospheres accompanying the deep sequences. While the original album is an analog creation, it still holds its own with new millennium digitalia and is uniquely old school.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. Ballett 1 is the first of four works to have been composed and recorded by Klaus Schulze after the passing of his mother in 1998. It is one of those pieces in which Schulze moves dangerously close to classical music. He's flirted with it before with various qualitative results. There are three pieces (or movements if you like) that make up this nearly 77-minute work. Schulze manages all the keyboards, naturally, from sequencers and samplers to multi-chordal synths.
A new chapter is written in the history of the successful cooperation between KLAUS SCHULZE and LISA GERRARD. Electronic soundscapes of ominous beauty shimmer with energy as the delicate voice of Lisa Gerrard weaves it's magic.
On August 4, 2007, Klaus Schulze celebrated his 60th birthday. Most electronica providers of 2007 and 2008 were not as old as Schulze, but then, Schulze is someone who - like Brian Eno and Kraftwerk - was using synthesizers before they were truly in vogue and before many of today's electronica artists were even born. Thankfully, Schulze hasn't run out of ideas after all these years, and on Farscape, he fulfills a longtime ambition: collaborating with Australian singer Lisa Gerrard (of Dead Can Dance fame). This two-CD set is best described as an extended piece that lasts 153 minutes; that piece, which is titled "Liquid Coincidence," is broken down into seven parts…
Live @ Klangart is a 2001 live performance from the German festival of the title. The sounds here run the gamut of Schulze's multi-faceted musical personality, from a complex latticework of metronomic patterns to classical-influenced legato moments and even some trip-hop-flavored grooves.
The final chapter in Klaus Schulze's four-disc, five-hour tribute to his dead mother (who used to be a ballet dancer before she married) is the set's best movement and a big leap forward from the rather stale Ballett 3. The personnel on Ballett 4 is as on Ballett 2: Wolfgang Tiepold on cello, Thomas Kagermann on flute, wordless singing, and soft-spoken narration, and Tom Dams mixing the beat-driven part of the album. The continuous piece proceeds in three stages. The 14-minute introduction, "Mellowtrone," lacks character and spends too much time featuring Schulze noodling around, as if uncertain about how to proceed…
Das Wagner Desaster Live is the thirtieth album by Klaus Schulze. It was originally released in 1994, and in 2005 was the fifteenth Schulze album reissued by Revisited Records. The reissue of Das Wagner Desaster Live is one of two examples of a Klaus Schulze reissue that changes the original order of the tracks (the other being Audentity).