Black Widow Tetrasm Gender

Klaus Schulze: the king of electronic music (7) Klaus Schulze

MOONDAWN

(1976)

Brain Records

Program 1: Floating (27'13)

Program 2: Mindphaser (25'35)

To someone who manifest a desire to discover the music of Klaus Schulze and not where to begin a discography too bloated, here undoubtedly the album that I would submit it as an initiation.

MOONDAWN not the harsh austerity of Irrlicht and CYBORG . It does not grow on the same soil as cerebral PICTURE MUSIC and do not develop a universe as disorienting as BLACKDANCE . His plays thus appears much more attractive with warm tones that humanize the music of Klaus Schulze. Does this mean that MOONDAWN no interest? Nothing is less certain.

He is regarded in Europe as one of the masterpieces of electronic music. In France, it enjoys a reputation as infallible. In Berlin, an influential music critic who opened a coffee used it as background music.

MOONDAWN enjoys a rich full sound that surpasses even that of Timewind . All this comes from the recording technique itself: first, Schulze uses a 4-track, which reduces the appearance somewhat craftsmanship of the previous games. The list of equipment has been enriched with a Big Moog, the behemoth of electronic instruments which Schulze had made the acquisition from his compatriot Florian Fricke of Popol Vuh leader, who get rid of after having explored, he said, all the guts on the soundtrack of Aguirre, the Wrath of God and his studio album, the classic IN THE GARDENS OF PHARAO . Upon taking possession of this instrument has become myth, Schulze incorporated the circle of privileged people who have tried to tame it, even if the Big Moog has a reputation never be fully tamed. Finally, this album sees the successful return of a rhythmic structure reminiscent of the first love of Schulze. But this time MOONDAWN called to serve a real drummer, the brilliant Harald Grosskopf, who contributes greatly to the success of the album in 1976. We had already heard some very fine percussion PICTURE MUSIC even if these instruments are not mentioned in the booklet nor in the original edition of SPV. MOONDAWN multiplies, it is found, the first time, making it a milestone in the discography of the author, disc became a cult, one of the best 70s.

MOONDAWN is composed of two long beaches that contrast a little in the way of PICTURE MUSIC: The first title is making great sweetness, while the second explores a much larger rock. Floating begins incongruously through the voice of the pope singing a Mass while flicker noise reminiscent of a liquid universe. Soon, over a synthetic cloth airy begins a sequence of "famous" Schulze obtained by gluing two sets of four notes slightly shifted in time according to well-known cannon, just like the notes of the bass guitar offset by Roger Waters in the brilliant One of these days Pink Floyd. By sheer magic of this sequence ultra efficient Floating transports the listener into a world where there is a nice easy listening spirit avant la lettre. Ease of listening to this song not connected but no concession to any form of art. It is good to be lulled by the poetry of electronic sounds and nuances of the game while the metronomic percussion Harald Grosskopf. The spell is complete. A delight.

Mindphaser again introduces the softer and more fluid ways by a layer of synthetic beauty which alone justifies the qualifier dream that one usually ready to electronic music of that era, and especially the Cosmic Music. The impression on the listener is an invitation to travel, an entry in the most relaxing convenes with her colors and images abstaites, giving me the feeling back in time to the origins of the creation of the world as the wonderful title track on the soundtrack of Vangelis THE APOCALYPSE OF ANIMALS. The state of weightlessness lasting about 10 minutes after which Klaus Schulze operates a dazzling reversal, totally unpredictable, which convenes the full panoply of percussion and drums, while a keyboard sound similar to that of Mental Door starts devilish rocker in a German musician improvising with the secret. To support all, required a line giving the organ as a haunting solemnity.

As often in the work of Schulze discography, all bathed in a certain timelessness that defies trends and fashions. Great art.

Template Of A Service Letter

the king of electronic music (6)

Timewind

(1975)

Brain & Virgin Records

pouch Urs Ammann

Klaus Schulze considers Timewind as his masterpiece. We can not be accused of self-sufficiency an artist who is mostly an uncompromising look at his records. Thus his previous album, BLACKDANCE has not endorsed by the author denies that the more or less so that in the double compilation ESSENTIAL (1972 -...), supervised by the master himself, is the only title of a CD cover that the 70 missing.

USA, Timewind is hailed as a masterpiece of electronic music, but it is true that in this country was long the only disk Schulze available.

In France, the academic Prix Charles Cros , which crowns the best album of the year and we can not possibly be suspected of acquaintance with the world of electronic music (this is a euphemistically), he was awarded top honors in this year 1975.

Such unanimity might frighten the listener careful: what a mistake! Timewind is the apotheosis of cosmic electronic music, improvised unsurpassable work in a night (at least it's a myth that the author himself maintains and we have no reason to doubt it), an interstellar travel a staggering magnitude.

can venture to consider Irrlicht , CYBORG and Timewind as parts of a cosmic trilogy whose emotional impact is growing along Schulze enriches its electronic equipment, relatives interviewed by the beautiful illustrations the painter Urs Ammann that magnify the respective pockets of these three works in a visual style clearly inspired by Salvador Dali and stick perfectly to this music.

Composed of two long tracks (a habit Schulze ) Timewind calls for a total availability the auditor if he hopes to enjoy the treasures it contains.

The 1st title return Bayreuth is one of the most fascinating experiences I have ever had to live on the mode of repetition. With an economy of means worthy of Philip Glass , Klaus Schulze metal launches a sequence of four notes which he plays then to vary the pace, the slowing and then accelerating to immerse listener into a trance particularly effective. No need here to spread his virtuosity; minimalism prevails from beginning to end. Often covering the pre-cited sequence, synthesizers sound spread out in space their melody sounding vaguely oriental. It is sufficient to bind it all, to blow a wind of freshness dunes walks intermittently to explode like a tornado in the dying seconds of the song, to complete the ambience of a beach powerfully hypnotic.

The 2nd title Wahnfried 1884, takes us on a journey far more spectacular. Beginning with the cries of agony that cut the sound space, it continues with a further complaint of intense expressiveness that nothing seems to soothe. Beyond the pain that permeates this passage, what is striking is the amplitude of the noise barrier that leaves no room for empty and a feeling of fullness dizzy. However, this first part, as impressive as she leaves nothing to predict the emotional trauma that follows. From the 10th minute, the endless complaint synthetic hangs on a note that Schulze maintains to infinity and on which the musician, pierced by grace, just improvise a short sequence that varies an octave to ecstasy. No other music electronics has raised in me such emotion that I am so difficult to translate into words.

Because Schulze improvises, the first few minutes of his compositions are always a time of waiting for the listener: the master gropes, hesitates, stands at the crossroads of all the options available to him. This gives long introductions involved the slow conditioning of the listener. Finally, Schulze, guided by his great intuition, chose a track where the leads moods, track which is very often the best ... Thus the master has its spell on me gradual, almost imperceptible.

The counterpart of this mindset is that Schulze often has trouble closing his compositions, they suddenly interrupted or via a classic fade very arbitrary: we often feel that this is indeed the limit for storing audio information specific to vinyl, which decides when to finish each piece, feeling somewhat frustrating if any. Fortunately, it sometimes happens that Klaus Schulze find the proper end. This is the case with Wahnfried 1884 which ends with a tornado sound which I've never recovered.

strident complaints heard at the beginning of the track resurfacing, filling the screen sound. Superimposed on them, Schulze sends echoes of heartbeats who flock to the surface and whose volume is growing to become obsessive. Again, work on the sound is impressive. The heartbeat sounds on a record low of phenomenal power which never fails to thrill my speakers. Then, after a staggering crescendo, the climax past, the volume goes down slowly. The bass sounds are becoming scarce and cardiac slowing gradually to clear the space where sound echoes some final tributary. I do not know of any other securities of the master whose conclusion is also catacly smique. A master sound which I'm still recovering.

Obviously Timewind is a masterpiece of cosmic music, and yet who could dispute the fact that this album is less original than BLACKDANCE whose unusual beauty troubles me as much if not more?

How Much Do I Pay For Makep Brushes

klaus schulze: King of the electronic music (5) Klaus Schulze

BLACKDANCE

(1974)

Brain and Virgin

Urs Ammann pouch

fans Klaus Schulze are entitled to prefer to CYBORG BLACKDANCE . For my part, although I consider historically CYBORG as an essential marker of electronic music, I can not help to prefer BLACKDANCE . This is not a question of artistic quality, but rather surround sound.

It is evident from the first title Waves of exchange, the sonic palette has expanded from a 12-string acoustic guitar especially a drum whose use by Schulze is a model of invention and originality that few artists will operate with him after such an art. The African drums that come in during the second part of Waves of exchange also provide a key offset that takes the listener into a world of strangeness very attractive.

When I listen to this title and the other two of this excellent album, I can not think of anything concrete. No image just projecting myself my inner film. My listening focuses on the textures, properly incredible. The second title, Some velvet phasing , is a stunning example. This is an improvisation which Schulze the secret. We can not say that this song is melodically a wild invention, yet, although it is nonsensical, it fascinates from beginning to end. Schulze almost more interested in the texture of sound that the combination of notes together. On Some velvet phasing , he invented a sound material alive. The song title is there to indicate. The synths are molded in a velvety fabric that twists, bends and coils in on itself. The effect is particularly striking in the headset: the sound turns on itself like a leaf that would cornea.

BLACKDANCE however keeps the best for last. The third title Voices of sin is unquestionably be my favorite of the entire discography Schulze. It begins, it is a great idea, a bass voice that comes from a recording of Verdi. As far as the treatment hallucinating Schulze subjected to a symphony orchestra on Irrlicht remains today a surprising boldness, as the bass voice in isolation, without any electronic effect, only a vocal line of opera, disrupts an impressive landmarks of the listener. Then the synths are superimposed on the solo voice by drawing behind a carpet, as in Some velvet phasing , wiggles and winds, creating a striking effect. The background sound passes imperceptibly into the foreground as and when the bass fades. Shortly after, a sequence syncopated synthetic, producing a metallic sound strange to not be interrupted s'enclanche or lower pace for well over two thirds of the song. When finally added to all the notes of a piano tune, the sound building and deploying a product particularly claustrophobic atmosphere. Really great song!

For the first time in my eyes, Klaus Schulze creates music that will never be copied and will be no rival in his way. If CYBORG have inspired OXYGEN of the JMJarre, however BLACKDANCE remain an album like no other, a fantastic experience where the listener gets lost deep in a strange dimension. I agree with Steve Wilson, Porcupine Tree leader and Blackfield : BLACKDANCE musical work is the most unusual I know.

Drivers Free Dell Gx620

Program from April 15 to May 19, 2009

Programme PDF




Hours:




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Special Session
Wednesday, April 15 at 20:30
In the presence of Sophie's producer Quiedeville
Film



Fabienne Godet
France, 2009, 1:47

Raider recidivist, Michel Vaujour spent twenty-seven years in prison with seventeen isolation. He made the beautiful five times, legend has retained his escape of Health in 1986 by helicopter with the help of his wife Nadine. Four months later, he was recaptured during a robbery which degenerates in a shootout, during which he took a bullet in the head. Hemiplegic, he rehabilitates single and enjoys, in 2003, an amendment to the Law on conditions for obtaining parole. He is granted a remission of sixteen.

The film devotes Fabienne Godet-cons took the foot of this biography, quasi police could wait to leave. He turns his back on options or journalistic fiction, nor do traces its social trajectory nor his legal battle, spare us the style reality show which recreates the confusion of a man trapped in a concrete cube.
Godet had at his disposal the necessary ingredients to the portrait of a Nickel-foot modern-day king of the run. A disk, a history of fraternal friendship with a fellow inmate, women faithful love stories (after Nadine is trying Jamila of his escape and spent seven years in prison), incredible tricks (the prisoner takes the imprint of a key in the crust of a Babybel, is made revolver with soap and nail clippers).

She chose her main asset: Michel Vaujour, man. Do not release me, I'll take care of is an intimate portrait, pointed at a face, listening to a word, asceticism accomplice, a philosophy. It is the story of a man who verbalizes his metamorphosis. The face-to-face with an eternal escapee what he thought was his reconciliation with himself. Vaujour understood that his prison was existential, his revolt had locked up, he would have had to find other ways to get rid of values of the community. It was his own jailer.

Vaujour tells how he has drawn strength in him, how he lost "the ability of joy", how it caused extreme situations because the only thing that made him vibrate, "was death", how he reinvented "by the inner journey." He speaks of "the beauty of what we offered." Blue eyes, an emotion that is flush, a spiritual power that impresses the screen.
Jean-Luc Douin

PRESS PACK

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Cine - Pub - Philo

In partnership with
The MJC Martigues Mediatheque Louis Aragon the Bookstore PARAGRAPH


6:30 p.m. Thursday, April 16
Resisting do exist?

Praise of Réxistence
Vladimir Biaggi

In circumstances imposed by history, men, millions have lived and still live in oppression, tyranny, misery and humiliation. Whoever lives or survives in such situations is often reason to resign, to surrender, to accept the unacceptable until the end (of his troubles or his life). Other routes exist and a central question arises: how to remain human in a world radically dehumanized ? That question was posed by V. Biaggi in his book "THE SERIAL NUMBER 48954; its subtitle," In Praise of Réxistence "offers a response to be considered: there, is not initially resist? Reflection on the meaning and value of the concept of resistance will be conducted in the presence of the author.

Reading by Gabriel Cinque
Book Chil Rajchman
I'm the last Jew Treblinka 1942-1943



Debate

led by Pascal Jourdan, in the presence Vladimir Biaggi



9:00 p.m.



Requiem for a Massacre
Original Song: "Go and see"
Elem Klimov
USSR, 1985, 2:20
Kratchenko With Alexei, Olga ... Mironava

is a film that can not come out unscathed, as if returning from war itself, with the flashes of tracer bullets in the eyes, guttural cries, insatiably devouring fire. It is the spiral of violence, madness, the inevitable: death leads Elem Klimov's film (his goal like a scythe) until the final revenge, unleashing immediate and rehashed maketing ploy to face the unbearable and the logic of extermination black. The child of thirteen, played by Alexei Kravchenko or emaciated, the witness is an adult most of cruelty great supporters of the Nazis against the Russians. The camera movements arise or impose his eyes frightened, frightening, the whirlwind, the hurricane of iron that kills, destroys and uproots everything in its path. The grass does not push back more, no trees, churches burned boards will not even be used as coffins for the living-dead.

If I remember correctly, it went well. I was young and wanted to join the comrades, fighting against Nazi Germany. It terrorized my country, my family was starving. I was young I wanted to know, and I left. I left my mother and the twins. My mother was crying because she knows some of which travel is not up ...

One day he took leave, and they left without me, "too young" they said. I stayed there in the thick forest, crying, heart rifle cons. There was this girl who was crying, she saw her lover head of the battalion. She cried. I cried. And then we laughed. Soon the bombs fell and the Germans marched on the camp. We, as we were hidden from the dead, out of the mud. Me, I had a siren in my head, and he had run away. I walked straight to the house. Hand gun cons. Mom and the twins were gone. At the end of the swamp stood neighbors, frail and hungry. It took eating. He had to go, go. And that I saw, I saw what there was to see, and maybe even that God gave me life for a day to testify ... "

At 9 years, Elim Klimov saw Stalingrad, his hometown, crushed by bombs. Become a filmmaker, he had fixed the duty to make a film about that time to eventually adapt to a new writer Ales Adamovich's, The story of Khatyn (*) on the atrocities perpetrated by the German army in Belarus during the 1943. This country has seen 628 villages destroyed by fire (628 times Oradour-sur-Glane), of which 186 were never rebuilt. The "Graveyard of Villages Burned" of Khatyn still retains the land in urns and ashes of all these places disappeared.

Directed at a time of great international political tension after a previous film that had frustrated ("The Agony"), is the culmination of eight years of work. To embody this descent into hell, Klimov has selected a player of fifteen, Aleksei Kravchenko, all young job applicants who cried the most, who was willing to endure the worst shooting conditions, which ran until exhaustion for be chosen. The film was originally called "Kill Hitler" as to castigate from barbarism that lies in each of us. Finally, it will be "Go and look" (words from the revelations of Saint John the Evangelist in the Apocalypse, when the slain Lamb broke the first seal) and "Requiem for a massacre" in France.

entire film is seen through the eyes of Fliora, this kid is old before his time, but the unforgettable scene of the return to the farm when accompanied by Glash it hastily and not turns away from the pile of bodies of his family. There, Klimov makes us glimpse the unspeakable in the blue eyes of the girl. The two teens fled to the swamps, through forests of birch trees (believed to images of original happiness in "The Thin Red Line" by Terrence Malick) and found other refugees. Foraging, the youth is eventually captured and taken to a village invested by the German army.

In the last part, the technique is even more discreet. The staging accumulates inventions while miraculously remaining sober. Camera movements (the film is shot entirely in the Steadycam) seeks no artifice. A look to the sky: a threatening aircraft tore the azure. In the distance, trees are emergency doors out of reach. The massacre of villagers organized in a ghoulish and meticulous choreography.

"We were all together, and it was almost unrealistic in the real side, it must have been mistaken for real, someone had to come and change happens. But nobody came. Wide-eyed, I saw. Crammed into the barn, it took the place of cattle. Women could go out, "without children" we had reported an officer. I'm out. Large yellow flames burned up to the sky.

"Too Young" they said ? Because you know wars who choose their victims? They were all crazy. I'm away ... Yeah, I think that if I were asked, I would say that it happened like that. Faced against fire. "

The mounting clip reinforces the dramatic intensity without the image does not reveling in horror. The use of sound alone deserves a lengthy discussion (at the beginning of the film, after the bombs, it no longer receives an awful hissing sound) and goes to aggregate in an atrocious cacophony Mozart and animal noises. There is stunned and helpless in the killing and its aftermath. The penultimate scene invents a montage of archive that ends in dramatic question in a puddle of dirty water. This wrenching catharsis made with tripe, where each new scene you landed a punch, is also an experiment in the limits of fiction. A cow is stolen from a farm slaughtered by machine gun: the sequence was carried live ammunition, we see the creeping slip a few inches from the actor and the Beast dying before our eyes.

Haunted by memories of childhood, the story of yet grasped the real chaos. Defuse the slightest pathos (no whining, no tears, no heroism), this rejection of any psychological digression, this saturation of the senses (visual and auditory) release tremendous energy which destroys every puff a little more viewers. How to emerge unscathed from such a film? "Requiem pour un massacre" realism focuses the first few minutes of "Saving Private Ryan" (Spielberg), the lyricism of "Apocalypse Now" (Coppola), inventiveness sound "Childhood of Ivan "(The first film Tarkovsky on a related topic), the fierce looks of the lost children of the "Wall" (Güney) or the despair of "Landscape in the Mist (Angelopoulos).

is a witness to history, an indictment against human barbarism, a journey into the night stinking mud and blood, cinema pushed to its extremes and it's terrifying.

Elim Klimov has done no more film. He died October 26, 2006.

(*) This Khatyn located 60 km from Minsk has no connection with the site of the massacre of Polish officers: Katyn (Russia near Smolensk). Belarus has its equivalent Kourapaty, where tens of thousands of Russian, Belarusian, Lithuanian and Polish victims of Stalin's purges between 1937 and 1941 are buried in mass graves.

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The Birds of Saudi
A Way with Simone Weil

Film David Yon
Written by David and Mathieu Yon
2009

fragments correspondence

with the letters of Simone Weil Ataris Antonio (1941-1942)

At the dawn of World War II, thousands of English refugees fleeing across the Pyrenees to advance Franquists . Antonio Atari is one of them: a face among many. Arrived France, he was interned at Camp du Vernet in Ariège.

In March 1941, he received a letter from someone he does not know, the philosopher Simone Weil. These two destinies will cross in the twilight of history. On the one hand, a Jewish philosopher engaged in a political struggle and mystical in Marseille, and the other a peasant anarchist exile in Vernet and gateway to the Sahara, in Djelfa in Algeria.

exciting site with many documents around the film





Simone Weil, Françoise
irregular and Florence Mauro

Find more videos like this on www.truveo.com.

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All Movies
from 15/04 to 19/05
(click thumbnails)

************* BONUS




About the commercial breaks on television

Jean-Luc Godard sent, March 12, 1988, Mr. Arnaud Here, artistic director of Action for TF 1, the following letter:

Let me give you my feeling the desire to TF 1 to insert a "display advertising" within the spread of Rise and Fall of a small business theater.

From a artistic point of view, I regret that a TF can not insert more advertising slots during the broadcast of this work which deserves, and what would be perfectly in keeping with the subject.

We can show you several places where the insertion of a display ad would be very useful, either to hide the game shocked the lead actor, a low cut or lighting.

These screens could be either mostly silent or sound, and I'd be real happy to indicate possible locations to serve you.

course, you should choose a common agreement monitors advertising to be inserted during broadcasts, and for their sake, and for that of "the bitter carrier.

I beg you, dear sir, to believe that I am writing these proposals out of use of good faith. Advertising in all its forms is part of the daily reality of our Western world, and it seems strange that the film, which transmits some data from this world, can also accommodate some affection with "ads", and should the exclude the name of I do not know what artistic purity.

It is therefore important to choose the filmmaker not only space and time of the cut, but the tone and style of advertising the work itself, in agreement with the owner, so as to This break a bond for the common good of both works.

In this case, in order to share with the co-producer of the film - that is to say TF 1 - additional revenue, I propose to redistribute a percentage to be established between the various co-producers - Hamster, TF 1 and we - even levied on the price set by the chain for this or these various insertions.

I think this position is much healthier than that taken by the SACD and the company directors, which has sent a copy of this letter, as well as the production and distribution should not belong to some one when it comes to movies, even when it comes to commercials.

Jean Luc Godard

Masterbation With Other Guys

the king of electronic music (4) Klaus Schulze

PICTURE MUSIC

(1973)

Brain Records

Program:

FACE 1: Totem (23'45)

FACE 2: Mental Door (23'00)

After Irrlicht (1972) and CYBORG (1973) invoking the sidereal space, c is a radical change of course we invite Klaus Schulze from his 3rd album. Much his music until attending spheres dark and ethereal, much PICTURE MUSIC arises on an infinitely more LBS. From the first seconds of Totem , starts a pulsing organic no respite will not alter at least until the 15 ° minute. The strangest thing in this first title of the album is that, behind this powerful resonances with sequential pulsing bass, improvised a melody evolves espousing sinuous convolutions of the ARP Odyssey, languorous melody inciting meditation. Thus the contrast between the textures and organic mental unfurl the 23-minute Totem. In the last five minutes of this composition, Klaus Schulze we even offer a magical moment when the partition synthetic freezes while the sound screen is seen smeared with liquid notes colliding in a strangely harmonious cacophony.

This disc also marks the first appearance of synths that bring electronic music to new sounds analog enjoyed the same year the beautiful Phaedra Tangerine Dream of . Listeners of the time, fond of discovery and sensory experiences, welcome the music as they hosted earlier that of Doors and Pink Floyd . The music press is full of praise when it comes to showing the work of avant-garde rock to propel the sphere hitherto uncharted territories.

The comparison between Phaedra and PICTURE MUSIC reserve some surprises as well. Tangerine Dream exploits the new analogue sounds better to transport the listener into another cosmic dimension, as it had done with Schulze CYBORG . Yet PICTURE MUSIC seems to spring from a more intimate space, which are woven the memories. This work atypical Schulze, by which I started in the knowledge of his discography, explores the inner territories directed exclusively to the intellect, if music is surprisingly cerebral which requires no lyrical overflow. Phaedra leads the listener out of himself, PICTURE MUSIC instead brings it to him to confront his unconscious. In this sense, the 3rd installment of Schulze neighbor shows itself in the spirit of Buddhist meditation in his art to fathom the depths of brain waves.

The second title, Mental door, begins and also ends with a long meditative track, but Klaus Schulze breeze abruptly by an improvised synth introduces, totally unexpected movement which it funky we had not used in his first two albums.

Strangely, there are 3 pockets official PICTURE MUSIC . Once is not custom, that of Urs Ammann (a square checkerboard floor to the ceiling where a naked man is crucified) is far from being my favorite. One showing a vacant lot behind the middle of which, abandoned, a picture frame contained a picture of a child fascinates me. This music is that which generates in me the strongest images. From the first listen Totem I designed a movie whose images virtual hug the convolutions of synthesizers. The title of the disc impresses me: Klaus Schulze had he realized the power of his music cinégénique? A few years later, he explained in the booklet MIRAGE, its 8 ° album, his music does it in any pre-established message that freedom is left to the listener to put his own image, to transfer the direction he wants to give it. And no I do not think too hard copy of the artistic process as well appointed PICTURE MUSIC . This music connects me to the child whose traces remain in me. That's why the cover portrait amazes me as much. Rarely have I noticed such a synergy between music and illustration of his pocket.

pouch Urs Ammann

pouch Jacques Wirtz

All things considered, Steve Roach admirer of Schulze the first period, will remember the atmosphere of introspective PICTURE MUSIC appear when his legendary STRUCTURES FROM SILENCE (1984) .

Homer Gets Hit By Chair

The king of electronic music (3) Klaus Schulze

CYBORG

(1373)

CYBORG: pocket edition of the Brain Records

Program:

SIDE 1: 1- Synphära (22'45)

FACE 2: 2- Conphära (25'44)

FACE 3: 3- Chromengel (23'45)

FACE 4: 4- Neuronengesang (24'39)

One year penalty after Irrlicht (1972) first test innovative but still in its infancy, Klaus Schulze is back in top form with a second album, CYBORG (1973) , which not content with being a double album (2 vinyls ) is necessary as the yardstick of cosmic music. The artist takes inspiration literally bubbling off solo.

As such, it seems necessary to keep in mind that 3 years between the famous CYBORG OXYGEN (1976) of Jean-Michel Jarre . not my intention to withdraw Jarre the great merit he had to popularize electronic music with an audience that would have perhaps never discovered himself. But I find it totally exaggerated enthusiasm of the media at the time who have passed Jarre for an authentic pioneer in the field of electronic instruments, as he has did not only follow, with a real talent certainly the two major artists of the Berlin School, Klaus Schulze and Tangerine Dream, who were hovering their ARP synth and another mini Moog on our plates for three years already . Jean-Michel Jarre has found a perfect compromise between style hovering Klaus Schulze and the infinitely more pop, Kraftwerk , which gives OXYGEN an immediate attraction that can be exercised even ear on a novice.

CYBORG has already done all the sounds of OXYGEN the same ethereal texture, but the complete lack of rhythm pop in favor of a haunting rhythm and robotics, this colorful interstellar travel much darker accents.

CYBORG four beaches hypnotics, as many variations on a theme whose interest lies not only in their incantatory character in the game but also very subtle textures mingling scintillating sci- fiction, haunting hum of bass and treble layers Farfisa organ. Although the sonic palette has greatly expanded since Irrlicht , the bells of the VCS 3, deliberately monotonous locks the listener into a torpor that is part of the strangeness of the 90 minutes of music in total weightlessness. The principle of composition is the same as Irrlicht , namely the repetition of synthetic loops that accentuate the impression of frozen music.

means again that a symphony orchestra Schulze was pleased again to grind. The merger Orchestra + synthesizer is infinitely more successful than the previous album. Music Schulze sparkles with a thousand colors, although most of the time it gives us an impression of a-tone. The melodies are not really, but the marriage of electronic instruments (still very limited at that time) and deploys a wealth of orchestral harmonies. Irrlicht was dark, CYBORG is brighter but the manner of a monochrome red and orange that pierce the blackness of infinite space. This is music perfect for meditation, a real alternative to the horrible new age music emerged from the 80's.

CYBORG, pocket edition of the OHR

Milena Velba In A Bus

the king of electronic music (2) Klaus Schulze

Irrlicht
(1972)

Irrlicht, pocket edition of the Brain record

Program :

FACE 1

1-Satz: Ebene (23'23) 2-Satz: Gewitter (5'39)

FACE 2

3 Exil Sils-Maria (21'25)

Who has not had the time, it is difficult to imagine the excitement there was in Europe for an alternative rock and experimental. In this respect, Germany has offered during the 70 different music, completely uninhibited of Anglo-American model, very inventive. This musical, parallel to the hippies, has found its source in two schools: the School Berlin and Munich school: it was the emergence of groups like Ashra Temple, Popol Vuh, Can, Neu!, Amon Duul I and II . Pop-rock press was quick to bring these artists under the name Krautrock (rock sauerkraut), which incidentally, is hardly flattering, and most importantly, very little business. "German Rock" would have been much simpler and respectful.

Klaus Schulze has illustrated a moment in one of these courses: -Ashra Temple alongside Manuel Göttsching .

-Ashra Temple Join Inn (1971)

Rock proposed by this group should share its source to the inevitable Pink Floyd which it borrowed its long beaches planing border of psychedelia. Ashra Temple -evoked, however, a meditative and hypnotic rock very close to Pink Floyd of period A Saucerful of Secrets, without being provided a copy. Paradoxically, in view of his future career, Schulze officiated in the group as drummer.

Over the same period (the very early 70s), Klaus Schulze shared Poster groups such as Cosmic Jokers and Tangerine Dream . The first of these groups has proved something of a scam, his music has been published without his knowledge.

The Cosmic Jokers: 1973

The Cosmic Jokers were a bunch of friends who liked to get together to improvise extended ranges unbridled psychedelic enough. However, their sessions repetitions were recorded by an impostor who would subsequently exploited the recordings by those posing as an official group, while there was nothing so serious. In contrast, the second group mentioned, Tangerine Dream, was destined to become a tremendous representative of electronic music in Berlin, the European success before being international. Klaus Schulze was a member of this group led by Edgar Froese time for a single album, the first of the training is: Electronic Meditation.

Tangerine Dream: Electronic Meditation (1970)

The title of this record is also misleading because it suggests improvised music does not in any case involving electronics. It is an alternative rock, quite noisy, shapeless and psychedelic. For a problem of rivalry with Edgar Froese guitarist Schulze left the band after the inaugural release of this album.

Then in 1972 seems Irrlicht. Klaus Schulze album opens with a surprisingly long solo career that continues today.

Obviously I can not advise a curious music lover to begin his discovery of Schulze by this disc. The artists at that time, even when they were edited by labels, had more freedom today. The economic system had not yet reached the musical sphere too. If the second disc of the double album UMMAGUMMA of Pink Floyd you seem unlistenable, Irrlicht, its uninhibited candor, you might encounter somewhat, not that this music is horrifying and unbridled as that of Floyd, but his uncompromising blackness does not make her happy or particularly pleasant listening. Yet it is a major album of electronic music, even if the electronics of that time was still very limited. To better understand Irrlicht, it should be situated in a line art and technology that would find its source in the work of an electro-acoustic Stockhausen, Pierre Henry a , a or Pierre Boulez a Terry Riley and continue by those dear to the school repeatedly Philip Glass or Steve Reich .

From Pierre Henry, Irrlicht shares the sense of clearing sound, an experimental character follows through. Klaus Schulze to overcome the lack of technical means, uses magnetic tapes that he likes to grind, mix, until the bone of the skeleton, the final stage of a process of metamorphosis impressive.

Klaus Schulze had little time previously obtained permission to record with a modest equipment jam session of a youth orchestra of the Berlin Conservatory. This orchestra is very present in Irrlicht, but if the musicians listened to the disc, what a surprise it was for them! There is an orchestra in the first album from the master, but it appears under a steamroller past giving it a sound spectrum. Schulze triturated the speed of the tape: the orchestra reached seems torpid, drowned in reverb, the echoes are coming muffled. Despite this treatment radical material instrumental classic Irrlicht remains a deeply innovative, demanding, whose magnetic sounds transport us to another dimension.

Illustrating Urs Amman on the front of the jacket fits well with the tone of the music hypnotic, made solemn by the fantastic use of a Farfisa organ whose notes backed deposit layers of anguish on the soil of a desolate world, burned, devastated: a post-apocalyptic world.

But it was the invention sound that retains foremost attention. Schulze has the genius to carry the listener far, very high, despite the darkness of his music: a form of bewitchment, or trance, a place that may remind some of the work of Philip Glass .

Although the back cover announces three beaches, this division seems so random Irrlicht listen to a treaty, without appreciable change from one song to another. The richness of this music comes from his art to combine repetition and evolution. The key to the art of music lies in Schulze time allowing his music to build its influence on the progressive listener. That is why his discography includes the 70 from the works of around sixty minutes each under its magic on deploying 20 to 25 minutes. The first impression is that listening to music from a stagnant, repetitive up constipation. However, it evolves imperceptibly, as the show ever started a fire in the fireplace or in transit cloud in the sky: the same thing and at the same time never the same.

Irrlicht, cover of the 1st edition published in OHR

Is Syracuse A Good Area

the king of electronic music (1)

Two events are the cause of my desire to share my passion for music of the great German composer Klaus Schulze.

-first, the initiative very wise InsideOutMusic label, specializing in rock progressive, republish the complete discography of this exceptional artist, observing the original blankets wrapped in beautiful digipack and provided a fascinating book where the teacher has every album by placing it in its historical context. The interest of these reissues, which are far from complete, is the unique bonus that generously enriches each patty and makes approaching that time of 80 minutes.

-the other is the concert event that Klaus Schulze gave at the Lorelei Festival last July and which moved its fans worldwide. It was the first time I attended a concert of the composer that has fascinated me more than twenty years.

A little history is necessary if you want to understand the enthusiasm within me whenever I am in contact with electronic music of Schulze.

In 1988 I enrolled in Hypokhâgne at Lycée Thiers Marseille. I'm 18, and great dreams. This is the first year that I left home and it gives me the desire to escape. Except that Hypokhâgne (superscript), evasion is not really sought owing hard work which we submit in Literature, History, English, Italian, Latin, Philosophy. Very quickly, my results proved disastrous in all disciplines. I understand now that my modest Baccalaureate honors, achieved in June the same year in Avignon, is not enough to shine in this section prestigious manufacturer of the nation's elite. So far I mope, I enjoy the pleasures of Marseille. For me, the major event is the display where the FNAC record makes me dizzy by failing to make me succumb to a musical orgasm.

At that time, a surfeit of musical discovery transports me irresistibly towards unexplored areas. While Dire Straits cardboard box office best-selling albums, I'm on me to different music. The album covers the group Cocteau Twins fascinate me, but I'm afraid to attempt the adventure, the price of the discs are often prohibitive for me, so simple student. Cocteau Twins I discover much later, and this will be one of two or three shocks of my life music student.

My encounter with the magician Klaus Schulze opened a phase in my epidermis. There was any This first album cover, oh great!

Picture Music, 1973

I must say that Klaus Schulze then lived a perfect stranger to me. The cover of Picture music sprang up to meet me the most intimate secret of my being. There was this framework, the portrait of a child, who addressed me subliminal waves connecting me with the most mysterious part of my sensibility: my relationship to childhood and all the spells it contains. An urge me did commit the irreparable: I bought the vinyl on the basis of a single image. But what a picture! I already am very interested in photography as I was practicing as an amateur. And the cover photo of this strange album like this picture perfect as I dreamed of taking since time immemorial. I was jealous that a photographer m'eût stole the idea. The disc of 1973, I was not ahead. My fantasy art had already been trampled by others long before me.

Listening to the disc completed to upgrade the spell triggered the jacket art. No music could better reflect the unspeakable presence that haunts the photograph.

I soon discovered in the bins of FNAC other discs Klaus Schulze weighing up my fingers, brushed with a constantly renewed appetite. My student Hypokhâgne results have not necessarily improved, but I was protected from my meeting with the magician electronic sounds. I could not listen to my first vinyl purchase because, in Marseille, I did not have to drive 33 Tours. It took advantage of a weekend when I was visiting my parents make me a cassette copy Picture music through hi-fi equipment from my father. Thus on my player, I could taste the sweetness and strangeness of this disc that met my best musical expectations.

When I went to Asda, bins Schulze became my rite of passage. The vinyls were marching under my fingers electrified. And during the 1988-1989 school year, I wasted the whole range Schulze FNAC. I realize now that I was the only buyer appetite for this artist this time in Marseilles. FNAC realized that vinyl Schulze went like hot cakes, prompting traders to regularly stocked his shelves. You tell me that I played in that history need the turkey pluck and pluck that left as many times he was a German composer of the new disc available in stores. All this is true, but as a buyer, not a disc I bought was a fascinating, unique, music directed to the intellect through the channel of the emotion. When arrived in June of that year, I had already obtained the following LPs Klaus Schulze of :

Picture Music / Blackdance / Timewind / Moondown / Bodylove / Dune / Digit / Trancefer / Dreams / Interface / Babel / En = trance

I buy more discs so as compulsive now, but the recent return to the news of Schulze occasionally reprints from all his work led me to get the CD version of Most of my records, which shows, if any, the madness that overtakes me when it comes to the king of electronic music.

Now, I invite you to discover these disks that still haunt me as much today. Everything that springs from this artist is spangled with gold, and so what if his excess of production (over a hundred disks) is accompanied by unavoidable waste: as stated Schulze himself: "Art n is not quantity but quality. "

Blackdance (1974)

(at continued ...)