vendredi 5 octobre 2012

KLAUS SCHULZE: Trancefer (1981/2006)

“Trancefer is the album which allies a little better the old music of Schulze to his new digital era”

1 A Few Minutes after Trancefer 18:20
2 Silent Running 18:57
3 A Few Minutes after Trancefer (Version 33 Halfspeed) 18:17
4 Silent Running (Version 45) 19:07

SPV 305502 CD - REV 071 (CD 74:41) ****

After the cold surprise of Dig ItKlaus Schulze returns with an album that allies a little better the old Schulze music with his new digital era. Although “Trancefer” is the shortest album that Schulze produced to this day with hardly 38 minutes on 2 long tracks with slow and minimalist evolutions. Well, the sound is not what it used to be but the soul and the heat which float there make of “Trancefer” an album that should have preceded Dig It instead of following it. But how can we talk about heat with the digital coolness? The answer lies in Wolfgang Tiepold's cello and Michael Shrieve's percussions which cut in this digital ambience and bring to this 2nd essay of Schulze in the digital spheres a musical depth which enhances an approach which wants to be closer to the paths of the old Master than Dig It.
"A Few Minutes after Trancefer" starts things abruptly with pads of churches' organs veils which spread over an empty movement of which the reverberations weave a painting which welcome nervous chords and keys circulating in random tandem with subtle tones of percussions. The atmosphere gets filled by tears of cellos which shear and caress a movement of which the metallic jolts are twinning with the percussions of Shrieve. This first part offers a great cello/synth dual. Tiepold labours his cello which merges with the discreet laments of a synth, giving an intense structural depth and a harmonious heat to a movement with cold tones of industrial churches. The ghostly pads tear an ambience of thick sheet steel when the native percussions of Shrieve harpoon "A Few Minutes after Trancefer" of undisciplined strikings which go marvellously with a movement become indocile, and this in spite of all the synergy between digital sequences, synth pads to tones of organs and discreet bows of Tiepold who pinches his strings of his agile fingers.
A dark veil of mist pushes the intro of "Silent Running" towards an aura of suspense. Cymbals ring their jingles which sparkle everywhere around synth strata forged in fragrances of mysteries, uniting their spectral lamentations beneath glaucous pulsations. Wolfgang Tiepold tears up the strings of his cello which draws curt and nervous movements, tearing the synthesized twilights which jump under the scattered strikings of the percussions. The movement amplifies on an uncertain pace with a staccato rhythm, like a runner out of breath on a slender thread of alienation, while a delicious crescendo settles down with the jerky lamentations of an aggressive cello of which the bows tear the tranquility of morphic violins. The rhythm increasing gradually the minimalist slope, "Silent Running" sinks into the spectral veils of a synth which hoots to perdition and in the curt knocks of a cello which drain its strings into an attractive orchestral envelope where the rhythm of percussions drowns there.
The bonus tracks which roll on variable speed are some small strokes of genius! One, because the minimalism movements allows it without altering the melody and two, this allows to catch all the subtlety of their modulations on richer and more powerful musical textures. If "A Few Minutes after Trancefer" is a bit slower, it doesn't really sound like that because the musical envelope is denser and unctuous. The effect is opposite on "Silent Running" which goes faster. That leaves me perplexed because the speed removes a lot of charm, except towards the end where cello and synth are sublime. But it doesn’t matter! These remix of the original tracks give us a delicious paradox of “Trancefer”. And the booklet, as on all the republications of SPV, locks photos and bibliographic notes which decorate more than 70 minutes of creative EM. Again, this is some great

Sylvain Lupari (February 6th, 2007 and translated on October 5th 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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