samedi 9 octobre 2010

KLAUS SCHULZE: La Vie Electronique 2 (2009)

Whereas La Vie Electronique 1 swarmed very close to known grounds, La Vie Electronique 2 presents us a more or less known musical world with the first incursions of the German composer into the world of the synthesizers with ARP. But the Farfisa is always strongly present, just as a vague attempt to create a group with a little progressive New Age consistency. Representing material written and recorded between 1972 and 1975, La Vie Electronique 2 isn’t really on Irrlicht or Cyborg doors, seals and flies towards complex skies where reverberations, drones and organs are crossing and uncrossing in a parallel universe.
As of the first reverberating loops of North of the Yukon, one discovers music definitely more inspired where Schulze handles oscillations of its new toys with an astonishing dexterity. If we are into Irrlicht and Cyborg era, it’s however a Black Dance background that we perceive with its hatched sounds that curve and fall as droppers in a caustic world with fragrances from an organ that push Arabian moods. If you know Moontain from Vanilla Queen we will be on familiar ground as its structure is nearly identical to North of the Yukon with its oscillations which undulate hypnotically before striking a wall of resonance to reappear again in another very similar form. In 73-74 Klaus Schulze tied its efforts to Hans-Jörg Stahlschmidt’ in order to form a band, whose names were as variable as the transience of the experiment, which wrote an album that never saw the light of day. Nightwind, Minuet, Signs of Dawn and Land Der Leeren Häuser were part of this never seen album. In spite of its obvious sound deficiencies, Nightwind is a beautiful lunar duel between sonorities of Farfisa, Arp Odyssey and an acoustic guitar with soft melancholic chords played by Hans-Jörg Stahlschmidt. A crossing between Iirlichtt and Black Dance under an organ with superb musical arch. It’s a movement of an acoustic guitar that waits for us on Minuet. An acoustic Ways of Changes which gets Schulze out of its crenel of electronic musician with a beautiful variant, but on the same minimalism structures to which are adding chords and suite of chords at the same time isolated or in series. I quite like it! Dark hypnotic movement where a minimalism pulsation moulds a padded tempo, Signs of Dawn evolves between two worlds as much spiritual as rhythmic, beneath dark incantations and hooting made from reverberating loops. A blend of aquatic and cavernous sonorities, Study for Philip K. Dick is like the tail of an anemic and stoned rattlesnake which furrows vague astral territories. Even if it is short it can seems long because that all these oblong resounding loops were already exploited under better sound skies than on Study for Philip K. Dick.
CD2 is for die hard fans who love the floating style of Schulze Farfasian’ waves. It brings us at the borders of atonal music but with Schulze’ subtle oscillatory nuances that made us dream so much on Cyborg and Irrlichtt. Taken from a radio show of August 1973, Das Große Identifikationsspiel is a long atonal purely experimental music piece and where the cadenced life is molded from booming loops which hem such of winding distortions. The Farfisa is grafting delicately, brighten up placid and caustic monastery monotony. Of a same conception and as much angelica, Titanensee transports us in a cosmos of ether, whereas Electric Love-Affair offers a warmer structure with hot oscillations slipping such as cosmic waves below superb and, sometimes moving, layers of a synth still timid. Well…a very ambient, floating and waltzing CD 2!
We have to wait until CD 3 before feeling some sorts of Schulzian familiar sounds through LVE2. Land Der Leeren Häuser plunges us into Pink Floyd and the More era with its notes of an acoustic guitar which drags its hesitations under the layers of a ghostly synth and a wandering voice which inhales the 70’s psychedelic era. Studies for Organ, Keyboards and Drumset drags us savagely in the world of Blackdance, more specifically Ways of Changes, with feverish bongos and percussions unique to Klaus Schulze’ drums movement that bite in undulations and floating from an organ rather gliding and intriguing. A superb music piece that would have its place on Blackdance. Memento Mori is the host land for fine oscillations, drones and delicate synth perfumes which prowl under a ochre sky, until minimalisms pulsations support a fine and suave tempo which pulsates in an insane race against the arrhythmia. Blaue Stunde is a splendid cosmic symphony where passivity borders with wonder of fine oscillations to timid tempos. A slow musical piece finely elaborate where one can easily imagine Schulze floating in his attic to assemble these long electronic litanies with through various spheres and modular phases. Fans of ambient and cosmic works will be charmed by this orgy of circular and morphic layers which plane among reflecting drones and loopy reverberations which sometimes modulate a light and brief tempo mislaid in time and caustic coldness
Different because unexpected compared to Schulze chronological works, La Vie Electronique 2 is a superb box-set always well documented bringing together a music that we never wearied to listen to, and this even if albums that came out of this era are definitely more dominant. Except for the work with Hans-Jörg Stahlschmidt and Minuet, this 2nd box-set brings together beautiful lucky finds which are marvelous complements to a music that one knows only too, but never enough to weary from it.

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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