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?
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