jeudi 27 décembre 2012

KLAUS SCHULZE: Audentity (1983/2005)

“If the digital music didn't take much time to unify its tones to the analog moods it's thanks to geniuses like Klaus Schulze on Audentity”
1.1 Cellistica 24:31
1.2 Spielglocken 21:24
1.3 Sebastian im Traum 28:21
2.1 Tango-Saty 5:47
2.2 Amourage 10:37
2.3 Opheylissem 5:11
2.4 Gem 57:44 (Bonus track)
a) Tiptoe on the Misty Mountain Tops
b) Sink or Swim 
c) At the angle of an Angel
d) Of White Nights

SPV 089-304132 DCD - REV 017 (CD 154:19) ****¼
(New Berlin School, minimalist and symphonic EM)
Here is an album that I had some difficulty to tame and to which an honest review was difficult to give birth. Not because it's not good, but because it's different. Quietly Klaus Schulze leads us in his universe of digital fairies that he upholsters of digital tones with synth riffs which marinade in tones of glockenspiel and orchestral flights that will lead us towards his operas. “Audentity” is a double album of what there is of the most eclectic where we sharply feel the cut of Schulze compared with its introductory works. And at that time I wondered where the line of fanaticism had stopped so much we were far from works as deep and floating like MirageBlackdance and Body Love. But with the years of subsequent musical discoveries to “Audentity”, force is to admit that this album is precursory and that it opened a breach in the always effervescent universe of contemporary EM, Berlin School or not. This new edition from of Revisited Records, always presented in a very beautiful digipack box set with in addition a beautiful booklet and about 50 minutes of new music, accentuates the perception of a very cold and metallic universe that we could have of “Audentity”.
Still in that time I had no difficulty of taming the CD 1(that was LP1) and the long variegated intro of "Cellistica" where sounds flutter in the indiscipline of Klaus Schulze's big improvisations. The mould takes quietly shape with echo riffs which waltz awkwardly on the strings of a pensive cello. Brilliant and punchy, the pulsations and percussions are adding to support this tortuous symbiosis which follows a surprising harmonious tangent that will know a delicious outcome towards the finale. Meanwhile it's a coaxed rhythm which pounds on the charms of Wolfgang Tiepold's cello. It's minimalist and hypnotic with variances in the harmonies but not in the shape. It's a great track which asks for more than one listening because the ingenuity of Schulze to structure the instructurable is as much stunning as charming with this surprising ear worm to Arabian flavors which survives all this long musical monologue and which will furnish the rhythms and the lively passages that are going to draw the musical structures of the 83 European tour. "Spielglocken" is my favorite track. It's like hearing old analog Schulze with the technology of this era. The rhythm is soft and drawn in a superb play of glockenspiels which sparkle on fine hypnotic pulsations while that the harmonies are ghostly with a synth to analog flavors. It's a splendid title that will also be the skeleton of its tour. "Sebastian im Traum" now! I know that it's one of the fave tracks among the circles of Schulze's fans and I have never understood why. This is 30 minutes of cold frenzy. A digital psychedelic ode of which I have never seized the parameters, even less its sense and definition. Certainly there is a sweet melody hiding there and that we can hear of its tinkled chords shining here and there, like on Freeze (Angst). But it's mostly snippets of harmony which float in an anarchy of chords. And still today and after all those attempts I still ask myself what is it about this track? I love Schulze, and I believe that you know that, but I was never capable of passing through the feelings of "Sebastian im Traum".
"Tango-Saty" kicks of CD 2 and seems to be taken out of the Dig It sessions so much the tones and rhythms are interlinked with it, quite as on "Opheylissem". Before reaching the sweetnesses of "Amourage" we have to fight its intro. But once past these instants we are subjected by the appeal of the synths which awake the heats of Body Love and Mirage. The price of beauty, is it? The bonus track "Gem" is divided into 5 parts which served as basis to write the soundtrack of Next of Kin, an Australian horror movie which won the Grand Prize of the Festival of du film of Paris in 1983. The intro is a long powerful humming where deformed striations are holding in a lugubrious tone. The ambience does stick to a horror movie although it's a little bit long. "Tiptoe on the Misty Mountain Tops" explodes with an old tone and a sequence in loop. We have here a track which gallops on an eclectic ride and where the authentic genius of  Schulze is parading in a sound whirlwind scattered through his eras. It's a superb and lively track which catches the hearing interest on modulations and variances that only Schulze can unjams on minimalism rhythms. This is a great part of "Gem", and some great Schulze, which goes on up until the finale of "Of White Nights".
Audentity” is a small masterpiece. And I know, I know, I know; there are a few out there who are going to say that I have no credibility when I speak or write about Schulze. They are doubtless right. But believe me on one point; if the digital music didn't take much time to unify its tones to the analog moods it's thanks to geniuses like Klaus Schulze who knew how to adapt this technological breakthrough at his structures and not the opposite. And I know several souls, of whom I, who have sulked of the ear this work to return, repenting, after having heard its sound intonations somewhere else, like on Depeche Mode among others. Even if still today "Sebastian im Traum" don't pass my ears, the rest flows with a disproportionate pleasure, because the active listening on a good sound system, at a good volume range, is infernal for the neighbors but brilliant for the listener. And I wish you the same with this other great reedition which comes with a pretty nice booklet... with gossips on the habits of Stomu Yamashta!

Sylvain Lupari (February 16th, 2007 and translated on December 20th 2012)
Cet article est disponible en Français sur le site de Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:

Aucun commentaire:

Publier un commentaire

Remarque : Seuls les membres de ce blogue sont autorisés à publier des commentaires.