dimanche 22 mai 2016

KLAUS SCHULZE: In Blue (1995/2005)

“The reunion between Schulze and Gootsching, In Blue is among the best works of the 90's in EM field”
CD 1
Into The Blue 78:25

CD 2
Return of the Tempel 44:38
Serenade in Blue 34:19

CD 3 (Bonus)
1 Musique Abstract / Live 1994 7:02
2 Return to the Tempel 2 / Live 1997 13:51
3 Out of the Blue 2 / Live 1998 32:20

ZYX Music 1995
Revisited Records SPV 089-304102 DCD+CD REV 008

(CD 210:45) *****

(New Berlin School)
In Blue”! Ah... the soft return of Ashra's Temple. A bit of history for me to you. I remember when I bought “In Blue” in 1995. There were few things happening in North America regarding EM of the Berlin School style. I was listening those last breathes of Software on Innovative Communication, whose catalogue was still distributed here on HMV Canada. Tangerine Dream was going further and so further away from its style with Turn of the Tides and Tyranny of Beauty. Klaus Schulze's “In Blue” was one of his rare CD which crossed the ocean to land here. And when I saw the artwork and the name who was accompanied Klaus on it, I knew that I would have my ears filled of sound pleasures. And indeed, I was! Hold your hat and take a deep breath, “In Blue” is what I could describe as being a real masterpiece of the neo Berlin School movement. It's the perfect union between two eras. Between the essences of the warm analog sounds and of the 70's and the digital coolness of the technologies of those days. A solid opus that Revisited Records has polished in order to offer it in a superb 3 CD Digipack, including a bonus CD and this so helpful booklet where Schulze talks about “In Blue”.
"
Into the Blue" is a long track of 78 minutes which comes in 5 segments. The first part is an ode to ambiospherical music. A long sonic fresco which transpires sensibility and melancholy. Chords which sound like a guitar and symphonic choirs cross a bluish sky and around the 15 minutes, the music bursts out with percussions. And "Blowin' the Blues Away" transports us in the Schulzian universe where the lines of sequences are tormented by the multiple assaults of percussions and crosshatched by wind instruments such as trumpets and oboes which are knitted in yet and still very good orchestral arrangements. All this musical mixture is struggling with intensity on sharp outbursts of rhythms which are wrapped by synth layers  which harmonize their hold with the various sequenced metamor-phases. It's an incredibly rich piece of music where Klaus is in great shape and toys with the moods while showing his incredible ingenuity to match the sequencing patterns and the samplings along the movements of the synths. The segment of 30 minutes which is "Wild And Blue" is totally divine and also wild. The rhythm is wild and Schulze plays between its vast sampling of percussions, sometimes deafening, on a bumpy structure but all the same rather uniform where wallows a magnificent synth and its trumpeter's harmonies. The structure evolves artlessly, filtering an approach to free jazz with a movement of hyperactive sequences. The crash of the percussions establishes a new chapter to "Wild And Blue" where agreements get melt in a kind of guitar, a nasal song and a sharply strummed melody. This is Schulze at his best and even if he cannot hold this wild pace, bringing the 2nd part towards more serene phases but always shaken by fragments of a rhythm which refuses stubbornly to bend backwards. The finale, "True Blue", will take care of it. Magical, vicious and infectious, "Return of the Tempel" is the meeting point between the genius Manuel Gottsching (Ashra Temple) on guitar and Klaus Schulze, them who had initiated Ash Ra Temple back in 1970. The introduction, "Midnight Blue", is very ethereal with a more or less cosmic approach filled with huge interstellar woosh. Daydreamer, Gottsching scatters his notes, a fusion between Asia and Spain, while Schulze spreads his orchestrations and light solos which coo like an acoustic guitar. And bang! "Return of the Tempel" runs on us like a train with a meshing of percussions, sober one should I add, and a line of bass which rolls breathless. Is it lamentations of guitar or of synth which wraps this rising rhythm? The magic of the sonic spectres! The guitar multiplies the effects on a structure blown up by its lively and minimalist approach as well as a great sequencing pattern which increases its dynamism as "Return of the Tempel" progresses. It's there that Manuel Gottsching seizes our ears with totally outstanding solos. A very beautiful piece of a music wild and crazy filled of audacious harmonious eccentricities! "Blue Spirits" puts back the peace which has introduced "Return of the Tempel" with a sort of Spanish guitar and orchestrations on a cosmic background while "True Blue" ends this long title with some very annoying electronic effects. A useless thing! "Serenade in Blue" sounds like a suite to "Into the Blue" so much the music and its evolutionary structures are alike.
The Bonus CD doesn't improve the greatness which is the original, but wow...!
"
Music Abstract" is an intense frenzy forged in Das Wagner Disaster's shadows. The sound quality is average, one would say a bootleg from the audience remasterised, but it's good Schulze. "Return of the Tempel 2" has nothing in common with the first version. It sounds like a track found in the vaults of The Dark Side of the Moog. Recorded some 4 years farther, "Out of the Blue 2" is a long track which respects the musical philosophy of Schulze. But I found nothing there which could let believe that it was from the “In Blue” sessions. It's a minimalist title which, once tom-toms are rolling, is of use as backdrop to effects and synthesized voices. There was better bonuses on other reeditions.
In Blue” should be part of your discography! It's an album which allies intensity and serenity in a musical envelope rich in new developments. It's great EM served to all the sauces with fine South American and Oriental essences. Klaus Schulze plays with his rhythms and his atmospheres with a surprising dexterity, going from one extreme to the other with violence or quietness. It is doubtless his most beautiful work of the 90's. Of his years of samplings where the percussions and the sequences dominate the elegances that he formerly possessed to make his synth adrift with majestic solos. The first 2 CD represent a colossal work which can be match easily  his best albums. And I always have these goose bumps on each time that I listen “In Blue”, especially the Gottsching part. The sign of a work which bloody age well....

Sylvain Lupari (Written in French on July 1st 2006. Translated in English on May 22nd 2016)
gutsofdarkness.com & synthsequences.blogspot.ca

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