"Mirage is het achtste muziekalbum van de Duitse specialist op het gebied van elektronische muziek Klaus Schulze. Het is opgenomen in Frankfurt am Main en Hambühren. Het is het eerste album waar een lijst van toetsinstrumenten wordt genoemd, die gebruikt werden. Het album is opgedragen aan broer Hans Dieter Schulze." (Wikipedia)
Klaus Schulze (West-Berlijn, 4 augustus 1947 – Berlijn, 26 april 2022) was een Duitse componist en uitvoerder van elektronische muziek. Hij wordt als een van de grondleggers van de Berlijnse School beschouwd samen met Tangerine Dream. Schulze heeft ook onder de schuilnaam Richard Wahnfried gewerkt. Hij was een van de oprichters van de elektronische rockband Ash Ra Tempel en speelde in Tangerine Dream, alvorens hij een solocarrière begon, die meer dan 40 albums (in totaal meer dan 110 cd's) in ruim 30 jaar opleverde. (Wikipedia)
Tweede album van Schulze. "From the early days of electronic experimentation in the pop field, Klaus Schulze's second solo album still today it stands as one of the most powerful examples of ambient pulse music ever conceived. The dense layers of rhythm and synthetic tone colors melt into a seamless, flowing soundscape of melody, motion and spatial effects. It's a monumental double album of "cosmic music." (AllMusic)
Hij pionierde in de Duitse elektronische en kosmische muziek, ging vele bijzondere samenwerkingen aan (Arthur Brown, Lisa Gerrard) en verzorgde menige spannende soundtrack. Stil stond de in april 2022 overleden Berlijnse artiest Klaus Schulze zelden, maar voor zijn laatste album Deus Arrakis keerde hij bewust terug naar zijn succesplaten van de jaren 70, zoals Timewind (1975) en Moondawn (1976). Epische elektronische soundscapes met donkere spanningsvelden zoals alleen Schulze die kon creëren op batterijen van Moogs, synthesizers en sequencers. Dit eerbetoon aan de Egyptische goden opent met mystieke elektronische klankvelden en wanneer na ruim een half uur eindelijk een elektronisch ritme inzet, ben je als luisteraar al geheel onder hypnose en stijg je, samen met Schulze op. Maar ook een zachte landing wordt door hem verzorgd met warme en rustieke klanken. Schulze werd veel nagevolgd, maar nooit geëvenaard in zijn kosmische muzikale reizen. (Muziekweb)|
This music was once released in the strictly limited wooden 10CD boxset "Contemporary Works". Now it is advanced with unpublished material from the original Klaus Schulze/Solar Moon sessions. This 2CD album became an "Ultimate Docking" definitely. It was a surprise when Klaus Schulze called out of the blue some late night in year Y2K Solar Moon System. A few days later they met Klaus in his infamous recording studio somewhere in the woods of northern Germany. After talking and "vibing" for hours, they started to initiate the "docking sequence" by putting on one of the typical Solar Moon System beats in a loop. Klaus joined in with one of his beloved Moogs. "Ultimate Docking" showcases and documents a space rendezvous of a different kind right at the very point of reaching the same orbit... which neither of them would have known existed before they even met." (MIG)
"Dedicated to Richard Wagner, "Timewind" is a 60-minute electronic expedition that is broken up into two half-hour tracks, "Bayreuth Return" and "Wahnfried 1883." The first 30 minutes involve icy pulsations and lengthy tonal flights that unnoticeably converge into each other. While one rhythm gains momentum, the other one slowly fades into a bubbly electronic bath of bright swirls and meandering keyboard waves. Similar to early Tangerine Dream, the music here rises and falls above a distant sonic horizon, and the effect is truly mesmerizing. One specific flow can last for minutes, while small, detailed noises adhere themselves to the main electronic run. On the second track, more of the same far-off synthesized altering takes place, but the washes of keyboard become inoculated with a sharper, more precise sound. Longer notes build into resilient pieces with the same comforting result. This album will sketch a barren wasteland in the mind." (Mike DeGagne, Allmusic) Editie met 56 minuten lange bonus-disc.
"This is Klaus Schulzes first studio album of new material in five years, after many reissues of his older work. It is both a celebration of him turning seventy and also the artist reflecting on his career while he recovered from an illness that saw him stop live performances for good. Schulzes career has gone through the entire ways electronic music can be modified and tweaked. He has engaged in everything from avant-garde atonal pieces to digital click and hum dance music to the sweeping space epics for which he is probably best known. On this album we see him cast an eye over his past and perform a large amount of the music live. The opening title track begins with some beautiful and haunting synth sounds that hover majestically in the air. Here we see Schulze hint at his early 1970s albums as the vistas painted in the sound are like wide landscapes". (freq.org.uk)
Geremasterde editie van essentieel Schulze-album uit 1976. Een oase aan opdoemende en weer wegstervende lagen aan keyboard-sferen en sequencer-patronen. Schulze neemt rustig de tijd om climaxen op te bouwen en zorgt dat je heerlijk wegdroomt. Deze editie bevat als bonus het liefst 21 minuten lange "Floating Sequence", waardoor de CD tot aan de rand toe gevuld is.
This is the first volume of an expansive reissue project for the collaborations between influential German artists Klaus Schulze and Peter Kuhlmann. Kuhlmann, best known as Pete Namlook who passed away in 2012, was very prolific on his own and alongside many others, including Biosphere. His work with Schulze as "The Dark Side Of The Moog" began in 1993. Schulze was well-established as a leading figure within Berlin's ambient scene, while Kuhlmann was a relative newcomer who had started his now-seminal Fax label. There were no set plans for a series at first, and they rarely met in person, but their connection would lead to 11 sequentially-named albums for Fax, released from 1994 through 2008. The names of the records, like "Wish You Were There" and "Obscured By Klaus", were all twists on Pink Floyd titles, though "It's no homage to Pink Floyd and direct references don't exist. The name of the project came to my mind because the Moog synth was the connecting instrument of our work." (bron: Resident Advisor)
"De electronische aartsvader stelde dit album wegens ziekte diverse malen uit. De CD opent met een half uur durend stuk dat doet denken aan Mike Oldfields huidige werk: worldmusic-achtig met moderne beat en Enigma-achtige 'ethnic'-zang. Het tweede stuk herinnert aan vroeg werk: goede snerpende synthsolo's en een aanstekelijk ritme. Het beste is afsluiter "Mephisto": een opwindende mix van de sound van "Moondawn" en "Cyborg" en recenter werk. Niet z'n beste album, wel één met voldoende pit." (AdW, IO Pages)
In 1994, Klaus Schulze was able to look back on a long, successful and highly influential career, but he was also able to embrace the new. He was in the midst of his digital phase, fascinated by sampling technology, and had a clear idea of where he could go with the technology, which resulted in albums like "Beyond Recall", "The Royal Festival Hall Recordings", "The Dome Event" and even to an extent his opera "Totentag". By contrast Peter Kuhlman a.k.a Pete Namlook had just started. In 1992 he had founded the seminal Fax label, which was both a vehicle for his own recordings and a chance to collaborate and release recordings from like-minded musicians from around the world: Robert Görl of DAF; Geir Jenssen of Biosphere fame; the ever-eclectic Bill Laswell; and Klaus Schulze. Pete Namlook in an interview from 2002 remembered: 'I didnt want to do just a remake of seventies space-music I intended to meld it with the beats and sounds of todays electronic music, and I think we succeeded.'(bron: MIG)
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