vendredi 29 octobre 2010

KLAUS SCHULZE: Irrlicht (1972)

From the start, I have to tell you that it’s not with Irrlicht that I tamed Klaus Schulze music. If I remember well, I found that bluntly annoying. ‘‘Anti-music it is’’ that I said to myself. At that time I was listening Pink Floyd’ Meddle and also Led Zeppelin IV, therefore you will understand that Irrlicht came out from another planet. Later when I learned to know the music of Klaus Schulze a little bit well, Irrlicht and Cyborg were those that really didn’t attract me. I was even wondering how people could enjoy this odd and floating music that seemed to me without souls, without depths. At this era the press specialized in underground and experimental music shouted out how genius he was. Schulze had the press on his side that spoke highly about the merits of this avant-gardist masterpiece. I got to say that I and my pals looked pretty weird when we tried to listen to it.
Nearly 35 years later, Revisited Records releases a new mastered edition that includes a long bonus track for fans and collectors of Klaus Schulze. Considering that I only had an old scratched vinyl of Irrlicht and that I became a huge fan of Schulze, I let myself go and bought this new mastered edition. Even if I knew that I will go through a dark and ambient universe, because today my tastes didn’t totally change. Even if I tamed floating music, it’s still not my cup of tea. So it’s rather with my current ears that I’ll write about this work of yesterday that changed the music of tomorrow and whose synth breaths always nourish works of today. Satz Ebene is a strange incantation. A long floating musical piece which drags its pathetic harmony, on a huge organ that would have made the delights of the Phantom. A track which comes out straight of Zeit icy atmospheres! A long suspended organ solo which floats with its undulations toward the very ambient, icy and lugubrious Energy Rise which is as much floating and abstract as Satz Ebene. Satz Exil Sils Maria is as much floating, but the ambiance is less dark, less intriguing than on Satz Ebene. A long sound mass which changes subtly its tempo, without really gains in rhythm. Dungeon is the bonus track. And it could really have been writing on the early 70’s, because it overlaps the synthetic spirit of Ebony and Exile Sils Maria.
No, my ears didn’t undergo for the contemporary evolution of those long vaporous synth masses. I always remain a heart of rhythm, even if I do appreciate a little more the ambient music. But I do like music that moves on rhythms in permutation. Irrlicht isn’t of this kind. On the other hand, the attentive listening of this remastered edition made me discover the roots and the avant-gardist genius that one allotted to Schulze, though I was strongly in agreement with this assumption. One perceives the ideas and the creative lines that were going to be used as musical stepping stones to create those fabulous albums which will follow one on another until X. Irrlicht is a long floating voyage, a symphony for atmospheric organ at the height and importance of minimalists works by Steve Reich and Philip Glass.

Sylvain Lupari (2006)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream;

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