mercredi 27 juin 2012

KLAUS SCHULZE: Dune (1980)

“Contrary to the works which followed Picture Music to X, Dune has not this spark which bewitches from the first listening”
1 Dune 30:28
2 Shadows of Ignorance 26:20
3 Le Mans 23:03 (Live 1979/Bonus Track)

REVISITED RECORDS: SPV 085-304122 REV016 (79:26)

It took me some times to fully appreciate the Klaustrophobic atmospheres of Dune and even now I still find it quite difficult to enjoy this album where Klaus Schulze continues to pay tribute to an author who influenced his culture. On X he composed the wild "Frank Herbert" and now on Dune he pushes his admiration by written a deep atmospheric ode which has a close link to the book. Furthermore it’s also the end of the analog era of Klaus Schulze; afterward it will be the digital era starting with Dig It.
The title-track is deeply floating. No rhythms, nor fine pulsations. It's a long 30 minutes track of dark and mystic ambiences which begins by a typical orchestral anarchy of the improvised introductions by Schulze. Some choirs coat this land of desolation with sterile chants which are melting to the lamentations of Wolfgang Tiepold's cello strings that creates an intimate mood with a dexterity which espouses marvellously the thoughts of a Schulze lost in the mists of his Mellotron. Slow and quiet "Dune" is the highlight of "soporification" with a Mellotron which still breathes the breaths of X and some celestial choirs which hum over a great mixture of cello and Mellotron, drawing the axes of a beautiful orchestral duel. More livened up "Shadows of Ignorance" dances on a light rhythm, ploughed that it is by strikes of cello and drummed by alternated strikes of percussions that a musical synth wraps of very melodious solos. This track introduces for the first time Schulze's favorite singer, Arthur Brown. And this is where I started to dislike this track which has a great potential and a beat which is among Klaus' bests. If the music bewitches, the vocalises of Brown are without expressions. And honestly I don’t understand the bewitchment of KS for Arthur Brown. His voice, although poetics by moments, doesn’t stick on Schulze’s structures. Half between chant and prayer, it sounds so discordant in regard of the harsh and jerky rhythms as well as it tarnishes the complicity between Schulze and Tiepold who weave a delicious rhythmic imprint for that time. A voice that I find without soul and which doesn’t manage to enrich the depth of these shadows of ignorance. It's a pity because "Shadows of Ignorance" is a quite a track. Recorded in concert at Le Abbaye de l’Épeau, "LeMans" is typical of Schulze’s improvised flights. It's a dynamic track which begins with sequenced percussions which roll a rhythm waving under great solos. This minimalist percussions structure runs in continuous loops on a changing movement where the musical rhythm is fading to leave room to an inconsistent speech of synths, which has doubtless inspired the robotics languages of arcade games, before falling in a morphic phase and a finale of the most atmospheric where intense Mellotron veils crown an atonal finale.
Contrary to the works which followed Picture Music to X, Dune has no this spark which bewitches from the first listening. There are no sequences which captivate and enchant, as well as synths which bewitch and magnetize. I had to listen again to it more than once before letting myself enthral by the title-track while I am always incapable to bear the voice of Arthur Brown on the second one. This being written, we don’t have to keep silent the musicality which lies on "Shadows of Ignorance" and the silent poetry of "Dune" which is the pivotal part of this 11th opus of Schulze; a title of which we recognise the influences here and there among contemporary EM makers. Although that after X, I maintain that it rather lands flat. In fact I shall not recommend it to introduce a greenhorn into the universe of Schulze because Dune is definitively not the album odometer of the quality of his works.

Sylvain Lupari (September 23rd, 2006, translated on June 27th, 2012)
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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