vendredi 25 mai 2012


"X is a timeless beauty which has age only its entered in history"
CD 1
1 Friedrich Nietzsche 24:50
2 Georg Trakl 26:04
3 Frank Herbert 10:51
4 Friedemann Bach 18:00
CD 2
1 Ludwig II. von Bayern 28:39
2 Heinrich von Kleist 29:32

3 Objet d'Louis (Bonus track Live 1978) 21:32
REVISITED RECORDS: SPV 089-304042 (159:28)

In one of my chronicles in Guts of Darkness, I had created a general outcry when I had compared certain works of contemporary EM with great classics. X, for 10 the 10th work of Klaus Schulze is one of these works. It’s a grand symphony to the measure of its author’s ambitions which, one got to admit without chauvinism, is the equal of the great masters of classical music.
A sinuous wind with low choruses floats in a vaporous atmosphere. Nervous synth chords wiggle while a sequence raises the wall of rhythm. "Friedrich Nietzsche" lifts off softly and flies with rhythm and restlessness, throughout the upcoming 20 minutes. Continuously Harald Grosskopf hammers his drum skins on a monumental title which moves with heaviness on orchestral synth strata which make "Friedrich Nietzsche" waltzes. It’s an intense title where the thick Mellotron and the virtual choir form a warm and harmonious ambience. At the top of his shape, Schulze multiplies his synth solos over the percussions which roll at high speed. A little more and one would to be in Moondawn spheres. It’s a great track which modifies its always so intense course around the 16th minute when Schulze elaborates his most beautiful solos which tear the pace on wild drumming. To be listened with passion! More temperate, "Georg Trakl" progresses in a delicate groovy mood with a synth filled of breezes sounding like flutes of sands is overlapping a soft bass line with slightly jumpy notes. Riffs and percussions bind themselves to this floating rhythm which is similar to a sweet reverie. Towards the 6th minute the tempo blows with a little more vigour with sequences bouncing in alternate strikings, plunging us into the poetic universe of Body Love while the crystal clear sequences which are dancing there immerge us into Mirage world but with a more progressive approach. It’s a long languorous title which evolves in a very mesmerizing ambience where riffs of keyboards and synths get harmonize to these sequences, weaving a strange atmosphere of free-jazz supported by the methodical percussions of the man from Ashra. A powerful organ impetus pushes "Frank Herbert" 's rhythm on a buzzing pulsation. It’s a wild and crazy track which leans on a great bass with notes as much galloping as the sequencing, a stormy synth and some steady percussions which hammer an infernal rhythm behind a dense Mellotron coat. Schulze  rocks! And his solos are superb.
A heavy violin carries away the first notes of "Friedemann Bach". The percussions hammer and roll a still ambience which sails by its violin chords. Dense the Mellotron blows a warmer mood while the title takes shape of a sublime way in a complete sound anarchy. A synth with oblong orchestral strata makes fly its violins above scattered and undisciplined percussions to form a disorganized orchestra which plays on a tempo evolving stubbornly. It’s a brilliant cacophony. There is only Schulze to harmonize a cacophony and make a success out of it. "Ludwig II. von Bayern" also starts in a musical din with a big synth fill of intriguing tones which clear up gradually to blow a superb melodious line where Schulze brings out harmony of his synths with great orchestrations. A remarkable track! As much by its huge sensibility and its mystical aura trapped within monstrous orchestrations which could have came out of the grave of any big classic author. Everything is bigger than sublimates. The cosmic sound effects modify subtly the movement whereas Schulze multiplies violin and cello lines which float in a corridor to atmospheric meanders, a passage which stretches out time in the only weakness of X, before renewing with a beat brewed by Grosskopf from which the drum hits go astray in the metallic sound effects which go out of a highly-charged synth. "Heinrich Von Kleist" starts slowly with fluid orchestral arrangements which flow with melancholy and a restraint passion. Wolfgang Tiepold's cello is suave and rocks us with an illusion of nostalgia. It’s a floating music piece with a deep Mellotron density which has as equal only the passion of Schulze. The intensity increases in the shade of virtual choirs as we are reaching the finale. A finale livened up by knocks of percussions and cosmic sound effects from a synth which wraps a livelier tempo. "Object d’Louis" is the bonus track offers in this Revisited Records’ new edition of X. It’s a live improvisation of what would become "Ludwig II. von Bayern" played in a 1978 concert. It’s a delight for fans and those whom memories of the 78 gigs are still deep in their head and ears.
Too many experts X is the classic among classics in the spheres of EM. Klaus Schulze draws up symphonic movements with passion and classic creative madness. Both complex and lucid X is to be tasted slowly, with as much passion as Schulze puts in it. I won’t say that it’s an easy one to tame (after all it’s real classical on floating, sequenced and wild electronic movements) but one let ourselves easily charmed, listening after listening, by this timeless beauty which has age only its entered in history.

Sylvain Lupari (September 23rd, 2009)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

Aucun commentaire:

Publier un commentaire

Remarque : Seuls les membres de ce blogue sont autorisés à publier des commentaires.