lundi 5 septembre 2011

KLAUS SCHULZE: La Vie Electronique 3 (2009)

La Vie Electronique III brings us in the heart of 1975 with live recordings in Germany, France and Hamburg as well as studio unreleased music. All tracks on LVE III appear on the Historic, Silver and Ultimate Edition and are presented in a chronological order, allowing thus to follow Klaus Schulze’s musical evolution who always uses his Farfisa organ, EMS Synthi, ARP synths, his homemade Syntanorma sequencer and for the very first time; the Big Moog. LVE III is a superb box-set, with its small recordings flaws, which shows all of the Schulze creative ingenuity in an era where EM concerts was a fair of improvisation but which also stayed a huge poetic mass presented by a man alone.
Recorded live in Munich, May1975, CD1 starts with "Alles ist Gut" and its sound effects of a cosmos unknown by all and which seems so simple in the understanding of the German synthesist. It’s a long 36 minutes track where a delicate sequence emerges from white noises to waddle innocently of a minimalist movement which progresses stealthily. This furtive movement awakes a solemn organ of which lugubrious and enchanting layers float and sing all over the intro. The sequential movement accentuates nervously the pace near the 9th minute to swirl in a furious spiral and merge its chords with those of the Farfisa, creating an oscillating and hypnotic drummed waltz, but without percussions, with impulsions of sequences and organ.
Gradually the tempo evanesce into Schulze’s cosmic foggy where only hypnotic, but weak, sequential movement survives in an interstellar frenzy where improvisation stages a lugubrious celestial and apocalyptic world which sails on a latent rhythm which takes back its initial sequences to get astray in a crazy furious ritornellos and transport us in the slow morphic, soporific and shrill vapours of "Alles ist Gut" long final. More experimental than musical, "Well Roared, Lion!" begins in an intense syncretic cacophony where waves of synth undulate on a shimmering linear movement to gyratory impulsions. A crazy and strongly aggressive track filled with reverberations, sinuous waves and cosmic winds roaring through a cosmic storm stuffed with white noises, which goes out of breathe in layers and odes of a solitary organ to gradually reach a point of tranquillity and a more celestial atmosphere. "Der Blaue Glaube" is another long 32 minutes track of which the opening, made by a suave synth wind, still breathes fragrances of Blackdance
 but with fine twinkling arpeggios which roam and stroll on a nice line to subtle oscillations. Slowly its intro progresses as a poem without words where chords and the musicality of Schulze lead us in a wonderful moment of reverie whereas delicate percussions fall to awake this delicious cosmic ode. We can feel the embryonic state of Moondance, with a zest of
Blackdance, on pre recorded percussions which follow the unbridled movements of these 2 works by Schulze, who has difficulty to follow with his synth and coordinate by his solos. The hazards of being alone with pre recorded percussions! But we have to be honest and to admire all the fluidity of Schulze who adapts itself rather quickly to follow the rhythm of the drum skins without falling in a rhythmic anarchy. A bit further, "Der Blaue Glaube" embraces the cosmic noises and enters a morphic phase where layers of synth undulate, while dropping solos, whereas appear the first sequential outlines. Sequences which strum a minimalist and insisting rhythm, on a rippling linear movement flew over by suave ethereal synth layers. Between the raw rhythm and the oniric sweetness of synth winds, "Der Blaue Glaube" evolves on subtle rhythmic permutations which come and go like sinuous movements of cascades on a moderate but charmingly musical rhythm. It is a superb musical piece, quite as "Alles ist Gut".
CD 2 offers diverse recordings of various concerts presented in the autumn and winter of 75. Recorded in France, on an unknown date, "Fourneau Cosmique" seems to be coming out from the Picture Music
 sessions, has it happens on Totem, but with a stronger intro with synth waves which interlace in a feverish hypnotic musical movement. Synth layers coupling in a nervous ballet which waves furiously in a curious waltz in staccato that a sequential movement espouses of a series of strummed and pounded chords. These chords isolate and strum more slowly, surrounded by a suave mellotron mist which casts a distressing veil on "Fourneau Cosmique" of which the evolution seems hesitating before sinking into glaucous pulsations which are not without recalling the universe of Totem but with less musicality. Scattered beatings permute in strange pulsations which plunge us into the caustic musical world of Totem before embracing a long atonal movement shaken by brief impulsions but fed by delicate twinklings arpeggios of which the echo resounds with strength in this universe at once biting, cold and very experimental. Recorded in Germany, autumn 75, "Die Lebendige Spur" opens with fine sparkling arpeggios which stroll on a latent rhythmic line where fine bass pulsations are clouded by a soft mellotron. The rhythm explodes with a superb synth play which kicks away furious chords hopping nervously in a beautiful zigzagging melody before falling in sulphurous solos which spin and criss-cross furiously on a sequential movement pounded of insistent chords and fed by a flowing bass. We are in the heart of Moondawn and especially Body Love years with a very progressive, even psychedelic, electronic approach which strongly influenced the French School style. "La Présence D'Esprit" is a small marvel which follows a tangent full of restraint. A very romantic and poetic track which begins with an electronic broth from where escapes fine drummed sequences and synth winds which come along in a long minimalist melody dressed of cosmic tones. The track evolves as a fine bolero, on a soft line of bass imprint of mellotron mists and a fusion organ/synth from where constantly filters these brief whistles which go astray in an ethereal melancholic foggy and scattered sequences on synth undulations of the Moondawn era. Very beautiful and quite good! Recorded in Hamburg studios in winter75 "Der Lauf Der Dinge" is a long sequential movement where chords spin, flicker and entwine in fine rhythmic permutations. The particularity of this track is that there are no synth and keyboard/synth chords to weave a melodious shadow on this sequential movement. We are finding there these sequences which swirl into spirals to multiple musical faces. This is another remarkable track buried in Schulze vaults and which justifies the publication of his numerous Editions.
CD 3 begins with "Zeichen Meines Lebens", recorded during a concert in Munich (St-Ursula Church) in October 75. It’s a very long and bewitching movement beginning with fine twinkling sequences which undulate on a soft musical river. The movement progresses with intensity, supported by layers and pads of the Farfisa which float and wave with a stunning fluidity above a brilliant mirror of sequences to the colors of the prism. I would be tell that we hear the musical skeleton of Mirage that I would believe it, especially when that the synth blows its first solos on another sequential movement camped by chords to minimalist variations. Twisted solos on a hypnotic sequential movement "Zeichen Meines Lebens" progresses with light variations in its structure, always keeping the cape of its alternative minimalist movement, its initial sequences to gleaming prisms and its solos became spectral. We are between Blackdance
Picture Music and the skeleton of Mirage as well as Body Love and it’s simply brilliant. The other tracks on CD 3 are studio recordings reflecting the works of this era, as on "Semper Idem" and "Wann Soll Man Springen?" which seem to come out of Blackdance sessions to roam in phases and more experimental structures on static and hatched movements fed of hesitating and sometimes warm sometimes jerky synth solos. Taken out from nowhere, "Experimentelle Bagatelle" hiccups also on a hatched linear movement which is later invades by metallic beatings and pulsations a bit deafening. Between Totem and Body Love, "Kurzes Stück Im Alten Stil" gallops on drummed sequences and great twisted solos. It’s a short but magnificently musical piece where Schulze cosmic bats glance through a wonderful electronic movement from the analog years. "Gewitter" concludes this outstanding box-set of unedited music with a synth line to hatched furrows which wave on somber pulsations. A little between the philharmonic arrangements of X and percussions impetus of Body Love, "Gewitter" rocks the house down with black pulsating sequences which crisscross the mad beatings of Harald Grosskopf wrapped with a rather discreet synth. This wild and unbridled rhythm stops curtly to fall into syncretic metallic and synth lines which weave unreal violins lamentations. An atonal movement which goes by increasing but without ever being feed of rhythms, as in X.
La Vie Electronique III is the most beautiful of the first 3 box-sets of the uncountable re Editions of Klaus Schulze. It’s a box-set where every CD offers pure brilliant moments, encircled by some jewels that aren’t less brilliant. To my ears it’s more than a box-set of unreleased works. It’s a real album that got lost in times and multiple mobile studios (read tape-recorders) that our synths poet constantly lugged-around. Simply wonderful and highly recommendable, it easily equals and surpasses by moments Picture MusicBlackdance and Timewind. This is a real masterpiece!

Sylvain Lupari (2011)
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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