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Pop - Released January 1, 1987 | Brain

Distinctions The Qobuz Ideal Discography
Restless mastermind Klaus Schulze had already done time in early Krautrock bands Tangerine Dream, Cosmic Jokers, and Ash Ra Tempel by the time of his 1972 solo debut, Irrlicht. Schulze had worked mainly as a drummer in most of these bands, but his innovative approach to synthesizers that unfolded over the course of his dense, prolific, and always forward-reaching solo albums throughout the '70s and '80s would set the tone for almost every genre affiliated with electronic music. Irrlicht was in some ways even more ahead of its time than his work with electronics, seeing Schulze creating ambient drones and highly experimental cosmic sounds made completely without the use of synths. Even as soon as the 1973 follow-up Cyborg he would be deeply immersed in chains of synthesizers, sequencers, and other early electronic instruments, but the sounds on Irrlicht had a lot more in common with the philosophies of musique concrète, with Schulze manipulating tapes he made of an orchestra practicing and stirring those sounds into swelling sheets of electric organ and cosmic ping-pongs of delay and other effects. These raw elements were boiled down into three lengthy pieces of a science fiction symphony: the shifting, desolate "Satz Ebene"; a brief, somewhat terrifying respite with "Satz Gewitter"; and the darkly meditative 21-minute album closer, "Satz Exil Sils Maria." Though made largely outside of the electronic realm (the 24-minute bonus track "Dungeon" that surfaced on later reissued editions of the album in the CD age is shockingly noisy and minimal compared to what would follow), the foggy experiments of Irrlicht were still astonishing, setting Schulze off on a path that would inform everything from new age to trance to the more electronic camps of indie rock as his legacy grew over the next several decades. © Fred Thomas /TiVo

Electronic - Released January 29, 2016 | M. i. G. - music


Electronic - Released January 1, 1978 | Brain

Each track on X or "Ten" (since it's Schulze's tenth release ) is titled after famous German personalities, but it's the provocative electronic music within the names that makes this one of his best albums. On this two-CD set, Schulze's sequencer is joined by electric guitar and drums, that pleasingly brings an earthy, simplistic feel into his pastiches. Still captivating and alluring with his multi- keyboard entourage, the tracks each exhibit a personality all their own. "Friedrich Nietzsche" is the most vibrant of all six, harboring a complex but attractive aura. The 24 minutes of this synthesized voyage involve imaginative sculpturing using both the Moog and Mellotron. Extreme washes of sturdy tones and pulses make up this wonderfully crafted track, one of Schulze's best. In the same manner, the rest of the album is pure electronic bombardment. With 12 different types of sequencers and synthesizers molded, merged, and fused together, the musical landscape created is overwhelming. On both the 29-minute "Ludwig II Von Bayern" and the equally lengthy "Heinrich Von Kleist," a foreign atmosphere is bred through the multitude of variable electronics, both of the guitar and keyboard type. As each track begins to take shape, the music is dissected and laid out, but not before it forms lasting images and intricately conveys mood. A true pioneer at his craft, Schulze's X is one of the more definitive albums of his career, since it's length and instrumental combinations make for a multifaceted electronic piece. © Mike DeGagne /TiVo

Electronic - Released May 25, 2018 | Oblivion


New Age - Released May 27, 2016 | M.i.G - music


New Age - Released January 27, 2017 | M. i. G. - music


Pop - Released January 1, 1990 | Brain

Klaus Schulze is one of the most legendary e-musicians of all time. He is also one of the best and most original. Moondawn is one of the true classics of the genre. For many serious listeners, this was the first and/or most important electronic music purchase. There is good reason for such sentiment -- this is a great album. It is definitely hardcore Berlin school electronica and much more. Like his contemporaries, Schulze added some extra flair to his style. This album has loads of ambient atmospheres accompanying the deep sequences. While the original album is an analog creation, it still holds its own with new millennium digitalia and is uniquely old school. This album bears comparisons only to Schulze's peers of its era: Jean Michel Jarre, Tangerine Dream, Edgar Froese, T.O.N.T.O.'s Expanding Head Band, and Mother Mallard's Portable Masterpiece Company. © Jim Brenholts /TiVo

New Age - Released February 22, 2019 | M. i. G. - music

New Age - Released August 24, 2018 | M. i. G. - music

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New Age - Released February 24, 2017 | M. i. G. - music


Musical Theatre - Released May 17, 2019 | The Roundtable


Relaxation - Released October 7, 2002 | M. i. G. - music


Electronic - Released January 1, 1974 | Brain

Blackdance is one of Klaus Schulze's early albums. There are lots of predictors that point to where his career would go. The tempo changes are smooth and sure and the sequences are varied -- some are deep and strong, others are long on atmosphere. Schulze mixes these elements seamlessly with experimental timbres and spatial textures. He adds an organ drone to give the disc a Baroque attitude and sinister overtones. This is more atmospheric than most of his albums. That gives it a nice appeal and a cool change of pace. © Jim Brenholts /TiVo

Electronic - Released August 1, 1975 | Brain

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 involves 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 through the wispiness of the wind-like effects. Timewind serves as splendid mood music, and the ears are forever kept busy following Schulze's electronic wandering. © Mike DeGagne /TiVo

New Age - Released March 18, 2016 | M.i.G - music


Pop - Released March 21, 1997 | WM Germany


New Age - Released August 25, 2017 | M. i. G. - music


New Age - Released August 24, 1992 | M. i. G. - music


Electronic - Released April 1, 1977 | Brain

Mirage is one of Klaus Schulze's best albums. It is certainly among the eeriest e-music sets ever. He created it as "an electronic winter landscape dedicated to Hans Dieter Schulze." It has somewhat of a symphonic structure. There are two main pieces: "Velvet Voyage" and "Crystal Lake." Each piece has six separate movements with experimental sounds serving as the recurring themes. The album has cold and icy textures that take listeners to the brink of the winter solstice. The experimental timbres give the set a sci-fi feel. This is vital space music. It will appeal to fans of Kevin Braheny, Richard Burmer, and Mychael Danna. © Jim Brenholts /TiVo

Electronic - Released October 31, 1980 | Brain

Dig It is a pure Berlin school CD by Klaus Schulze. Deep sequences, persistent rhythms, metallic atmospheres, and sci-fi sound effects dominate the sound design. Schulze uses only electronic instruments to construct these psychedelic walls of sound. This album is from 1980, during an era when this kind of e-music had no real home. It is too heavy for new age and too avant-garde for rock & roll. But it has distinct rock & roll influences. There are definite similarities to '60s acid rock and progressive rock from the late '60s and early '70s. It is more intricate and complicated than those styles, but the echoes don't lie. This is a very interesting CD with a cool retro sound. It will appeal to fans of early Pink Floyd and early Tangerine Dream. © Jim Brenholts /TiVo