jeudi 20 février 2014

KLAUS SCHULZE: The Dresden Performance (1990)

“The Dresden Performance is a good live album and a fair complement to Miditerranean Pads, of which this concert in Poland came 5 months after its release”
CD 1 (73:24)
1 Dresden 1 44:06
2 Dresden 3 10:28
3 Dresden 5 18:23
CD 2 (68:50)
1 Dresden 2 47:09
2 Dresden 4 22:01
Virgin CDVED 903 (CD 142:14) ***½

(Hypnotic, minimalist orchestral New Berlin School)

The Dresden Performance” is the fruit of a concert given in Dresden, Poland, by a chilly evening of August in 1990, be more than 5 months after the making of Miditerranean Pads. It's good to say it because The Dresden Performance inhales in full musicality the atmospheres and the rhythms of this album with also some winks of eye at albums such as Angst and Dreams. It's a double album divided between the portions of the concert (Dresden 1 and 2) and studio tracks (Dresden 3, 4 and 5) which were planned for this concert that the rain has shortened after the first 2 long acts. It's also the first one of four live albums to be released at the turning of the 90's, an era where  Klaus Schulze develops a so disproportionate passion that his talent for orchestral samplings and opera voices as well as the use of Musical Digital Instrument Interfaces; so called the MIDI years. Above all, if you loved Miditerranean Pads, “The Dresden Performance” should easily seduce you, especially with the very long and how much magnetizing Dresden 1 and Dresden 2.
Singing “tsitt-tsitt” cymbals, sneaky percussions and a line of funky bass are hopping in the dazed envelopes of the fanciful violins. And thus "Dresden 1" is landing between our ears with this delicious mi-funky/mi-groovy approach which decorated the sensual rhythms of
Miditerranean Pads. Moreover, everything of Miditerranean Pads is on "Dresden 1" and "Dresden 2". The rhythms, sometimes soft and sometimes wild, are coated by this synth weaver of deep Mellotron waves which are melting to the choruses and of their latent submission. The pace follows the lines of a slow crescendo with orchestrations which hide the arrival of the thousand knocks of percussions which labour a philharmonic structure roaming between its staccatos and its morphic lunar hold. "Dresden 1", just like "Dresden 2" is a very long music piece which exploits a brilliant play of sampled percussions. It's a creative play, a bit like in Percussion Planante, which divides a structure without splitting its main beat; so much the synths are wrapping it with their lascivious waltzes. Again this is some great Schulze who has fun in his maze of sound samples on a heavy rhythmic coloured of all sonic forms. With its 47 minutes at the meter, "Dresden 2" offers a fascinating interpretation of Decent Changes. There are lengths but it remains rather attractive.
First track in studio, "Dresden 3" is made of a soft sweetness with its angelic choruses which are frosted by xylophone arpeggios à la Freeze on
Angst. A soft nostalgic piano adds a dimension of loneliness to this soft piece that Schulze floods in a universe of vocal samplings which are wrapped by penetrating and waltzing synth lines. A superb melody with childlike vocalizes emerges out of the intro, stuffed by a huge variegated samplings, of "Dresden 5". On this track the rhythm livens up lasciviously on a soft line of bass which is pinched sharply, like a harp, and Tabla percussions which are drummed in the waddings of a violin from which the ethereal strings wrap of mist an ambient pace which follows a linear tangent with fine snags which get us out of our auditive torpor. Except for the melody part, I found this a bit too long as a bit too slow. "Dresden 4" is totally apart with its THX intro of which the sonic wings are cut quite quickly by the harmonies of a soft piano of which the minimalists spheroidal notes are surrounded by the vocalizes of morphic mermaids. Soon the track borrows a dramatic tangent with knocks of bows coming from an illusionary string ensemble who lie down some jerked layers that Schulze controls by his samplings. The mood becomes dark and claustrophobic. I feel being catapulted in the somber ambiences of Dreams on a suspense structure with chords sometimes classic and sometimes crystal clear, like the brightness of a xylophone in a universe of intense terror. I quite enjoyed this mood of fright. All in all, this is a great and heavy music piece of which the diversified samplings are creating an incredible sonic wealth which would support marvellously a horror or suspense movie obscured even more by Machiavellian moods, in particular at around the 11th minute point. Completely delicious in the genre fright and terror. This track, as several others moreover, shows the immense creativity of Schulze; an artist who knows how to innovate and exploit different musical genres with a dexterity and an artistic vision which is the privilege of the big composers, as much classic as contemporary.
I would say that “The Dresden Performance” is a good complement to
Miditerranean Pads, in particular with the too good "Dresden 1". It's a good live album, although we don't even hear a fly snoring, which demonstrates the surprising diversity of an artist who is capable of rolling minutes on the same theme while adding a little something here and there which makes, unmistakably, hook the interest of his fans.

Sylvain Lupari (February 19th, 2014)
gutsofdarkness.com & synthsequences.blogspot.ca
Cette chronique est également disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream: http://www.gutsofdarkness.com/god/objet.php?objet=12460

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