Sundaze 1141 Yes I'm back

Hello, yes i'm back, Thursday evening my connection was restored. Insane stuff, first i paid the wrong bill, then after i paid the right one for some mysterious reason my ISP didn't reconnect though by the 30th they had been paid in full, fortunately one of the few service centers they have is a 15 min walk, so when i dropped in for the second time last Thursday they restored my , Internet ,TV and phone.

Meanwhile my CRT TV gave up the ghost, i suspect that 16/9 digital signal had become too much for it, so no TV still, I ordered a combi monitor/tv as i don't watch that much TV anyway, a few days from now I'll get it in my face right here at my desk. Obviously not a huge screen, but i think TV size is as dick size, highly overrated ! Do you know that some think "the Greys" are us from the future, must be those large TV eyes. Mind you i think the Greys are from elsewhere, doing research, they did however scare off other aliens on this planet that had played God here for a very very long time, unfortunately their nasty legacy still festers on as billions still worship Jahweh and Allah (same creep btw). Admittedly they did bring us ahead of nature's schedule and we'd likely be still hunter gatherers if they hadn't had a need for our slave labor. What can i say " the true Creator moves in mysterious ways , way beyond anything we can grasp from our limited 3D perspective".

Time for todays music, one of the founders of the ambient genre, he was at it before synthesizers became available and his first album doesn't have any but still became a landmark for the whole scene, 1971's Irrlicht by Klaus Schulze. I met him once during the build up of a show and afterwards as i speak German reasonably well, rather introverted person, but i guess he speaks with his music and over the past 40 years he's released 100+ albums mostly solo. I'm still considering how many Sundaze's will be posted with him center stage at least one other but likely more in the weeks/months to come.

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As both a solo artist and as a member of groups including Tangerine Dream and Ash Ra Tempel, Klaus Schulze emerged among the founding fathers of contemporary electronic music, his epic, meditative soundscapes a key influence on the subsequent rise of the new age aesthetic. Born in Berlin on August 4, 1947, Schulze began his performing career during the 1960s, playing guitar, bass and drums in a variety of local bands; by 1969, he was drumming in Tangerine Dream, appearing a year later on their debut LP Electronic Meditation. The album was Schulze's lone effort with the group, however, as he soon co-founded Ash Ra Tempel with Manuel Gottsching and Harmut Enke, debuting in 1971 with a self-titled record; again, however, the band format appeared to stifle Schulze, and he mounted a solo career a few months later.

as a solo artist he quickly became more reflective; although he acquired his first synthesizer in 1972, it did not enter into his solo debut Irrlicht, its long, droning pieces instead assembled from electronic organ, oscillators and orchestral recordings. The double album Cyborg followed in 1973, and a year later he issued Blackdance. Timewind, regarded by many as Schulze's masterpiece, appeared in 1974. Around that same time he began producing prog-rockers the Far East Family Band; the group's keyboardist, Kitaro, frequently cited Schulze as the central influence behind his own plunge into the world of synths and electronics.

In 1976, he was drafted by Japanese percussionist and composer Stomu Yamashta to join his short-lived "supergroup" Go, also featuring Steve Winwood, Michael Shrieve and Al Di Meola. They released two studio albums (Go in 1976 and Go Too in 1977) and one live album ("Live from Paris") which went on to become a cult favorite. Throughout the 1970s he followed closely in the footsteps of Tangerine Dream, albeit with far lighter sequencer lines and a more reflective, dreamy edge, not unlike the ambient music of his contemporary Brian Eno.

(more next time)

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Schulze's solo debut is a masterful album featuring some of the most majestic instances of space music ever recorded, all the more remarkable for being recorded without synthesizers. The album's complete title is: Irrlicht: Quadrophonische Symphonie für Orchester und E-Maschinen ("Will-o'-the-wisp: Quadraphonic Symphony for Orchestra and Electronic Machines"). Its atmospheric drone music tone is similar to Tangerine Dream's album Zeit (released the same month) as it stemmed from a common idea that Schulze and Froese couldn't agree on and parted ways over. Schulze mainly used a broken and modified electric organ, a recording of a classical orchestra rehearsal played backward, and a damaged amplifier to filter and alter sounds that he mixed on tape into a three-movement symphony.

Klaus Schulze - Irrlicht (flac 249mb)

1 Satz Ebene 23:22
2 Satz Gewitter 5:38
3 Satz Exil Sils Maria 21:27

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From the early days of electronic experimentation in the pop field, Klaus Schulze's second solo album still today 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."

Klaus Schulze - Cyborg I (flac 340mb)

01 Synphära 22:49
02 Conphära 22:52

Klaus Schulze - Cyborg II (flac 331mb)

03 Chromengel 23:49
04 Neuronengesang 24:57

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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," it's Schulze's first album using a sequencer.Evolving slowly but deliberately over the course of the of each album side, Timewind has been deemed an electronic version of an Indian raga.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.

Klaus Schulze - Timewind (flac 362mb)

01 Bayreuth Return 30:25
02 Wahnfried 1883 28:37

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