mardi 4 juin 2013

KLAUS SCHULZE: The Schulze-Schickert Session (2013)

“In first ear, The Schulze-Schickert Session can seem difficult to tame but then we let ourselves wrap by the magical universe of analog tones that only Schulze knew how to train”
1 The Schulze-Schickert Session 45:17
a) Die Sehnsucht Des Laien (5:48)  
b) Hymns to the Night (10:20)  
c) No-Frills (6:46)
d) Heart of Darkness (6:05)  
e) Twilight Chill (9:18)  
f) Blessed Twilight (7:08)
2 Spirits of the Dead 8:17
3 Happy Country Life 12:36

Mirumir | MIR100704CDD (CD 66:10) ***½
(Vintage ambiospheric Berlin School)

The benefit of time is that it has all the leisure to dust its boredoms by making a backwash of its years, decades and so make us discover a pearl that it hid. The first time that I heard “The Schulze-Schickert Session”, it was with The Home Session bootleg. And I got to say it straightaway, I wasn’t thrilled at all. But here we are! The bootleg becomes an official album and finds its niche on the Russian label Mirumir in a180 gram vinyl album, a CD and a Deluxe version CD which includes 2 unedited tracks which inhale the ambiences of this session improvised in Klaus Schulze's living room in Hamburg on September 26th 1975. Was it the time of Timewind and Moondawn? You bet it was and it shows all over this album. And suddenly I rediscover this private session became public where the atmospheres and the dark rhythms of Blackdance and Timewind float in a musical broth which smells and sounds like the one of Ashra. “The Schulze-Schickert Session” is an eclectic duel synth/guitar where the EMS Synthi A of KS spreads its membrane of musical schizophrenia on a surprising guitar play which forces the rhythm like a sequencer with acoustic keys.
Such as a pistolero of electronic dunes, the guitar of Günter Schickert bites some winds biased by glaucous snores which expire its dusts of rocks. Layers of organs sleep in nightlight while the intro floats in its nasal aromas. The electronic tones of bat, peculiar to the EMS Synthi A, shell the silence like a dropper fed on iodine. Sparkling of their extraterrestrial tones on the back of layers sounding like an old Farfisa, they get lost in the 12 strings of a Framus that Schickert pinches with address. The rhythm of "The Schulze-Schickert Session" is slightly carried away with Hymns to the Night. Nasal, the synth lines sing an erosive melody which drags its ashed voice in the greyish dusts of other lines in tones and in contiguous melodies. The guitar of Günter Schickert guides the rhythm like a sequencer with a balladish approach. And little by little Klaus Schulze is dressing his chords which roll in loops into melodies and lamentations in constants fragmentations, shaping a lyrical duel which spits its new musical horizons as "The Schulze-Schickert Session" moves forward in its chapters. We are right in the heart of Timewind and Body Love, percussions less, where Schulze fills our ears to the top with all his finesses and nuances which remodel the vampiric approach of this session knotted in improvisation. The big pads of old organ and the nasal breaths cover a rhythm defined by the pulsions of a very discreet bass line and chords of a guitar as lively as melodious which rolls its serenades as a cowboy chews his nostalgia. The lines of synth become waves of an oceanic blue while that No-Frills sings and oscillates on organ sounding layers. It's one of the good moments of this session, which certainly influenced the writing of "Happy Country Life", where Schulze shows a sensibility which crosses our skin. And the solos shout on a phase which spits the poison of Blackdance on a bed of roguish melodies weaved in the fury of the synths. The most beautiful moment comes up doubtless at around the 28th minute with a phase which glitters the gleaming arpeggios of Mirage. A great moment where the keys of sequences flow in waterfall before melting in the chords of a guitar which brings back the orgiastic and vampiric breaths which, if by moments are aggressive, weave a tune of old witch on LSD. If the brief attempt of singings by Günter Schickert sounds out of tune on this work, its origin and all which surrounds it, seems on the other hand to have inspired the boldnesses of Adelbert Von Deyen. "Spirits of the Dead", which bears proudly its naming, is a track devoid of rhythms but not of ambience with its slow synth layers and its twisted reverberations which roam in a cave oozing of discomfort. It's all the same rather surprising to notice the participation of Schickert in this oblong procession for lost souls. "Happy Country Life" is a beautiful find. Günter Schickert rolls its repetitive chords which forge an ethereal rhythm. An ambient rhythm which flows like thousands of twinkling wavelets on a bed of synth layers which, little by little, spreads an ambience as much frightening as theatrical.
At first ear, “The Schulze-Schickert Session” can seem difficult to tame. The synths of Klaus Schulze are as well aggressive as they are nerve rending. They squeak some surrealist melodies which quietly find a comfort within our ears. And after that, we say ourselves; aye, it's a bit like on Timewind (Wahnfried on 1883). And there we let ourselves wrap by this universe of analog tones that the guitar of Günter Schickert decorates with a fascinating approach which reminds of a certain Manuel Gottsching. Admit that it's kind of attractive!

Sylvain Lupari (June 3rd, 2013)
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

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