X
(1978) Brain Records
Program 1
1-Friedrich Nietzsche (24'50) 2-
Georg Trakl (26'04)
3-Frank Herbert (10 ' 51) 4-
Friedemann Bach (18'00)
Program 2
1-Ludwig II von Bayern (28'39)
2-Heinrich von Kleist (29'32)
OF Some consider X as the masterpiece of Klaus Schulze, which expresses that the more luster to his love of classical music. For my part, without denying its intrinsic value, I can not help but remain puzzled by this disc, which shares with other famous double albums ( Tales from Topographic Oceans by Yes, Incantations Mike Oldfield) the same defect: namely, a succession of great moments from the best of his career tarnished unpleasantly long passages vacuum or lack of inspiration are sorely needed. In fact, X would have been a total success if Schulze had redacted half of its content to keep only the essence.
We rambled on about the enigmatic title of this album whose main asset is its polysemy. X can be read as the Roman numeral: in fact, is the tenth solo album by Klaus Schulze. But the title of each track paying tribute to the great names of German literature, X can be interpreted as a symbol of identity.
Before addressing the entrees, which start with angry. If Schulze had to delete everything that is filling, it will get rid of the second and last title of the second slab, the boring and pretentious Heinrich von Kleist (29'32). It would also better to remove the disk completely missed Frank Herbert who, despite a sequence strongly pulsed, extremely promising beginning to a flying wheel, ultimately does not propose any development which Schulze imperceptible yet secret, as if the composer did not know what to do with this gorgeous initial sequence. Although it takes only ten minutes, this track ends up tired after three to four minutes of inactivity sterile.
Fans of X evoke real emotion and the large symphonic inhabited Ludwig II von Bayern . How them wrong? This title is an incredible feat. Schulze hard his electronic instruments symphonic sounds of Vangelis those that refer to the rank of the worst gimmicks. Moreover, the dramatic progression is admirable lyricism and majesty. Finally, say that the title owes its reputation, earned in the first ten minutes. The problem is that from there, the inspiration for Schulze collapses and we offer a poisoned chalice: an endless empty hall where his music is stagnating badly. How could he dare to embark on a standstill as sterile after coming on as brilliantly removed? Certainly, after ten minutes of vacuum, the composition of Schulze finally sees the return of his original melody, which gives a feeling of fullness undeniable, but we must not forget that the last eight minutes Ludwig II von Bayern propose nothing more than an identical repetition of the top ten. Shame! I can not, even with the best intentions, consider this title as the masterpiece of reporting. If there is a masterpiece, it does not exceed the first ten minutes. It would have been a masterpiece if Schulze had reduced to ten minutes, but we looks like he is ashamed of pieces not reaching twenty minutes. If we add the duration of these securities, it has been almost an hour of music useless. Fortunately, there are still 68 minutes to justify the enthusiasm of fans of this double album
Friedrich Nietzsche is an entry in the most suitable piece at a time Pulsed fluid and close in the minds of some moments Moondawn. Nothing is to get rid of all to enjoy. In his element as ever, Schulze handily removes the composition without any need force of his talent.
Georg Trakl is a piece of choice among all those he made in the 70s. In the first edition vinyl records from Brain, because of the unusual length of the beaches, they had to drastically reduce this unfortunate title five minutes. There were only introduced, but what intro! Synth notes scattered on a bed of silky percussion that makes the listening very enjoyable. This piece had always seemed too short, so frustrating. So what was my surprise and that of all fans, no doubt, when I finally discovered the full version Georg Trakl of , 26 minutes splendid why I can not thank enough the label SPV, which, with his reproductions of the master, we are full of surprises, it is in my opinion by far the more extraordinary because Georg Trakl finally found its identity, its amplitude, coherence. Schulze cultivated a particularly compelling minimalism with a sequence as it has the secret he explores in great changes of pace and tone to ecstasy itself. This music evokes even the interstellar space, as at the time of Cyborg or Timewind But weaves intimate open to an artist's inner soul. If you have the first edition of X, please make the effort to get it, if only for the pleasure of admiring this title finally revealed in its beauty.
Friedemann Bach , despite its relative simplicity, remains in my opinion the best album title. Monotonous sequence that crosses over 18 minutes, combined with the mellow tones of a violin poisonous atmosphere helps to create a strange, lyrical content, which includes charm disturbing as would a gypsy Liszt Sonata.
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