vendredi 14 janvier 2011

KLAUS SCHULZE: Blackdance (1974)

It’s with Blackdance that my love story with Klaus Schulze began, with Ways of Changes, more exactly. A soft synth, which sounds like a trumpet that has cold, frees a loud lament which undulates and stays in suspension in a cosmos still virginal. As guests in a strange sound feast in intergalactic dimensions, notes of guitars drag with nonchalance. These disparate sounds elements are joining and end to strengthen a strange cosmic hymn where guitar notes and riffs become more furious, twirling on a synth with waves always so floating. Distantly cymbals are madding hear. They activate a rhythm which waves and gallops on oniric cosmic plains of a synth with stunningly ghostly waves. Tablas percussions feed this furious tempo, gashed by piercing electronic streaks and carried away by this sulfurous synth with always so deviants waves. Am I frenzied? Not really! You have to hear these sequential cycles dancing on a tenebrous organ, which is quite musical, to seize the madness of Schulze musical kermises on this time where imagination was transposing hardly into music. This organ which floats, such as an accordionist who’s a bit drunk, in a heavy cosmos illuminated with these electronic tones so unique to the musical world of Schulze with a low sequence which hems and waves with percussions thirsty for skin are a kind of hymn to solitary madness. A unique combination of which loops roll in echo and which are besieging a heavy and resonant movement, as a heavy space rock builds in a small room. It’s a big, but a big track from the experimental electronic era. Some Velvet Phasing is a more ambient musical piece. A synth chant which progresses with slowness on reverberating waves and loops which coo in a sclerosis universe. One of the first tracks that only exploits a keyboard.
On Voices of Syn, Ernst Siemon pushes low vocalizes on a placid intro with twisted humming and loops of a vaporous synth filled of Some Velvet Phasing musical fragrances. Fortunately the presence of Siemon is short but shows the attachment of Schulze for tenors and operas. Quietly the track espouses a more nervous rhythm with minimalism circulatory movements which drum such as heterogeneous percussions. The old organ modulates divine strata which serve as basis to a heavy tempo of the VCS 3 which pulses, such a headlight which makes rotations and dazzling us on each rotation. Some fine arpeggios tint discreetly, catching the hearing which is fascinated by all this range of tones which lives on a powerful and heavy minimalism structure to hypnotic meanders that are circulate on rhythms in spiral which, in these times, fascinated so much by the intensity than the euphoria of its static loops.
The Revisited Records version offers 2 tracks in bonus. The placid and syncretic Foreplay, where choirs and synth lines espouse a linear shape devoid of movements, but seized with a heavy monastery atmosphere. Explosions that come out of it can annoy, because they affect a spiritual tranquility. But, that’s proper to the world of Schulze, isn’t it? Synthies Have (No) Balls also offers a floating and syncretic intro with heavy explosions of cosmic gas. A heavy intro which is throwing itself into a metallic din, resounding too heavily in loudspeakers and earphones, which lead on a good pace supported by a beautiful percussions. A strongly liven up part, but also rather indigestible to ears because of a metallic and distortioned sound which pulses with aggressiveness in a cacophony unique to the kind of style and hallucinations of Schulze.
As for me, I don’t think it’s a re edition that worth its price, unless we don’t have Blackdance or we are collector, because the presentation and booklet are always well make.
With Blackdance, Klaus Schulze concretized its musical genius towards arrangements and compositions hard to realize for a solitary musician. Surpassing Mike Oldfield's minimalist lines, Schulze innovated by its synth and arrangements control. In fact, Blackdance reassured Schulze with its capacities to create harmonies and put him in full confidence with its works to come. A big album and a classic in EM, unique to Klaus Schulze style.


Sylvain Lupari (2006/2011)
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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