Irrlicht
(1972)
(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
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