jeudi 7 octobre 2010

KLAUS SCHULZE: La Vie Electronique 1 (2009)

Following re editions of his earlier works, Klaus D Mueller launches the re edition of all Schulze Ultimate Edition in a new series of musical chronology entitled La Vie Electronique (LVE). La Vie Electronique 1 recaps years 68 to 72. That is years preceding Irrlicht. But how to analyze all this sound depth of the 70’s in 2010, nearly after more than 40 years of evolution as well as technical as sonorous in the wonderful world of EM? That will be the challenge of this chronicle, and those which will follow, regarding LVE. I’ll try, after a fashion, to situate well phases and contexts, in order to better make the work of Schulze equal to his creative genius and his rudimentary equipment which evolved as years passed by, in concordance with the LVE.
I was Dreaming I was Awake and then I Woke Up and Found Myself Asleep opens this big musical fresco exactly as Irrlicht was created; from triturated and patched-up organ sonorities as only Schulze could realize well before the first stammering of EM. A floating music piece with slow oscillations which tumble down in a caustic oblivion, where sonorities amplified and molded in loops strike an imagination without boundaries. The last part transports us beyond floating borders with fine percussions that Schulze handles delicately, in the shade of heavy layers emerging out of a floating organ which unroll like a funeral march for zombies. The Real McCoy espouses a soft ecclesiastical sonority with a Farfisa, or an old Teisco, with sober undulations which curve among dubious whispers, establishing a strange climate of paranoia, and weak Tablas drums. More vibrant, and totally hypnotic, Tempus Fugit makes us discover Schulze solitary who very often was alone in its small room with his old organ, bongos, his Telefunken recorder and other home made electronics components, to wander its thoughts with an astonishing melancholy for a young person of its age. Here, the sound is ambient with fine modulations which cross a heavy magnetic field where limpid organ chords intermingle with vitriolic sinuosity for an era that far. More eclectic and rhythmic, with its percussions which tumble down in loops, Dynamo had the appearance of a cosmic good old rock with a dark and mephistophelic organ which haunts in symbiosis the pulse of percussions.
Perfectly experimental with a light Pink Floyd influence, Traumraum is structured in 4 phases with a rhythmic approach well rounded for the time. It’s flowing, Schulzian and filled of sonorities already exploratory for a period that far. Study for Brian Eno is a superb ambient track, full with emotion and moving layers which plane and juxtapose with a planing and psychedelic richness which will come off on first inspirations of Black Dance and Tangerine Dream’ Zeit and Atem. A very beautiful title where one perceives not so distant horizons on Schulze works. Written in 1972, Cyborgs Traum could undoubtedly be at the origins of Cyborg because one hears all there the caustics and spectral subtleties, given rhythm as well as atmospheric, which reign on this difficult double album, and this in less than 40 minutes. Opinions can be divided; as for me I appreciated Cyborg … but much more later. But those who found it too long will be delight by this curtailed version.
Die Kunst, Hundert Jahre alt zu Werden is really an astonishing title with its wild percussions that strike a disproportionate measure versus the slowness of organ oscillations. A destructive track where the rhythm is unceasingly droning under heavy hatched reverberations and slow curled oscillations of an organ to Middle-East fragrances of which Schulze makes vibrating from all of its keys. If the 1st half is overflowing of unbridled rhythms from an explosive drum, the rhythmic approach of the 2nd part rests on the oscillatory loops of the Farfisa which intermingle with caustics reverberations, creating a parallel cadenced universe, but without the drum shape. A long track, very eclectic, which shows all the work of a genius of the sound creativity, but which requires a good open-minded and listening in order to tame it better. Study for Terry Riley is an explosive rhythmic minimalism hyper active ride where the organ and its variations are the dominant part. Unchained bongos and first appearances of an analog synth, Les Jockeys Camouflés is the ideal anthology of rhythm on cosmic surges. The poetic paradox or duality of Schulze astral perceptions which are spread out over a very cosmic synth and analog ravings of the 70’s on wild tam-tams. Those who liked Black Dance will be thrill!
La Vie Electronique 1shows that Schulze got a grip on rhythms as much as atmospheres at his initial period. On this level, I would say that Irrlicht and Cyborg are fewer representatives of percussionist habits that animated Schulze during his primary era. Presented in its chronological conceptual context, LVE 1 is a true sound delight where one notes all the ingeniousness which lived in the enormous creativity and, especially, the audacity of Klaus Schulze which makes wonders with his Farfisa and a Telefunken recorder machine. A beautiful small box with a very nice booklet and unseen photos which show us youthful Schulze… all the opposite of an astonishing musical maturity.

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

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