Sundaze 2002

Hello,  today's artist spent most of his life studying Sufism and Mysticism as such being 'out there ' that much may well have led him deciding to stay there, instead of returning to his aging body, after all he had given what he had to give..


Today's artist is is a German ambient drone. While the early releases of the early 80s (almost exclusively released on cassette) were characterized by droning singing bowls, tambouras, zithers and natural sounds, these natural sound sources were combined more and more delicately on the late works, so that the sound source itself can no longer be identified was. The result was a deep, dronic sound current. If you listen closely, you will discover the incredible complexity that swells up and down and gives the sounds something organic. Each album was under a spiritual (often Sufic) motto and probably opened a corresponding door in open-minded listeners to touch or awaken that emotional level. Do listen to this guy, whose music, while hardly including a single word, has so much more to say to us than words, no matter their number, could ever communicate. .......N-Joy

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Klaus Wiese (January 18, 1942 – January 27, 2009 in Ulm) was a veteran e-musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of album releases using them. Wiese also used the human voice, the zither, Persian stringed instruments, chimes, and other exotic instruments in his music. Wiese is considered by some as one of the great ambient or space music artists such as Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.

He was briefly a member of the krautrock band Popol Vuh in the early 1970s where he played tamboura on the albums Hosianna Mantra and Seligpreisung. Eventually Wiese would move away from krautrock to his own version of long tone ambient music by the 1980s. In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. His music has regularly been featured on nationally syndicated radio programs such as Hearts of Space and Star's End.

Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005. Outrageously, twenty-four albums of material were released in 2004 alone. He traveled the East for many years studying Sufism and Mysticism which clearly influenced his spiritual, ambient music. Klaus Wiese died on 27 January 2009 at the age of 67. "It wasn't obvious he was sick and he was not suffering from any known illness. He died unexpectedly during the night."

Wieses approach to ambient music is based on the minimalist tradition of composers such as John Cage, Steve Reich and Philip Glass; The greatest similarities between his space-flooding, ethereal, sometimes almost statically persistent, and genre-typical extended (sometimes over 60 minute long) drone passages exist for artists such as Robert Rich and Steve Roach. Wiese was a self-taught multi-instrumentalist throughout his life and used various Persian stringed instruments, drums, Tibetan singing bowls, chimes and a number of other instruments in addition to the zither on his recordings.

Klaus Wiese's life's work, however, is difficult to reduce to his music as such, because for him mystical elements were always an integral part of his art, he himself emphasized spiritual, therapeutic and healing motives. Multiple trips to the Orient brought him in particular in connection with the teachings of Sufis Hazrat Inayat Khan, experiences that should also be reflected in his musical expression (and many of his artworks). Through Wiese, a piece of the Sufis' love of music came to Europe, which, although distant from classical Sufi music, still has similarities such as ecstasy (wagd) and rapture (hal)

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Re-mastered and re-edited by Klaus Wiese himself, this masterpiece rediscovers one of the finest moments in Wiese's discography and his entire music career. "Baraka" (Arabic for: blessings from above) not only heralds Klaus Wiese's discography, but also starts a new sound time calculation in ambient music. In 1981, when one spoke of ambient music, the term new age, minimal music and world music was still mixed in the drawer, but without a sweet, sticky aftertaste. Brian Eno, was allowed to hover next to Eberhard Schoener and Deuter. Popol Vuh, alongside Laraaji, Terry Riley, Iasos and Vangelis. The role models of Baraka can still be identified, as are the sound sources. An original sound emerged from album to album, which should gain influence for the ambient and drone scene (and also in areas of sound therapy).

But first "Baraka". It is about the one point, the lowest point that has to be reached acoustically. The point of truth, everything that is not truth, should be left out. The direct experience. No rhythmic distraction, no catchy tune, no virtuoso guitar runs. Everything is focused on the essentials. Pure sound, primal sound and this is not entirely unlike the Om or Aum. This bank, from which a waveless ocean later breaks, is created from singing bowls, zithers and tamboura.

Once all overtones have mixed and overlaid, hooked into each other, this very specific, unrelenting dro (e) ning sound arises. Detached from natural sounds, bells, cymbals, wind chimes and vibrating singing bowls, the sound (and the listener) reaches a weightless state. Deprived of all gravity, you slide into this warm maelstrom of security that has become sound. Sounds like esoteric literature and lots of drugs. Neither one! The pure sound that vibrates body and soul. Yes, it is deeply psychedelic, hypnotic ... and progressive. Herb skirt without herbs and rock, but with this peaceful spirit that immediately embraces the listener ... a little like the "monkey hour" and the "gardens of Pharaoh" shine through. Soul mate and sound related at the deepest level.

2 pieces, for almost an hour. Back then on a cassette and with a brief interruption. Now (well 2007) reissued and pure high. Oh yes ... for the loud sound and intoxication, something else important: the spiritual aspect was very elementary for Klaus Wiese. Without this substructure, his music would not be as it is or maybe not at all. "If people would know what blessing lies in need they would need nothing but need" so it says on the back of the album and so these words should also conclude this review.

Klaus Wiese - Baraka (flac 222mb)

01 Invocation I 26:12
02 Invocation II 30:46

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The tone language of Klaus Wieses after Baraka and the dark, rhythmic successor Maraccaba on "Sabiha Sabiya" experience a first sound refinement of the chosen sound means. The meaning of the title is difficult to understand. "Beauty", "Sapphire", "East Wind" ... maybe it's also a play on words and Sabiya is a name ... the beautiful Sabiya? An exact interpretation would now be speculation, but "beauty" is probably not too far from the feeling that awaits the listener of the cassette.

As on the romantic cover motif, the listener looks into the distance as soon as these warm sounds envelop him. And again they are completely organic and not created using synths and keyboards. Harp, tambura, harmonium and the human voice create spacious soundscapes that are difficult to describe with words. Again the tone counts that penetrates deeply into the listener's consciousness. Overtones buzz and hum harmoniously but not melodically. Unfortunately, some sections are faded out too abruptly, which causes the mind to stumble briefly before it is caught again by the next sound loop. "Sabiha Sabiya" sounds brighter than its predecessors and the instruments merge even more. Layering into each other, separating from each other until at the end there is only one fundamental tone, to which the listener is then attuned. Truly a journey, and in this noisy time this sound document from the early 80s can be used as an antidote.

Klaus Wiese - Sabiha Sabiya   (flac 253mb)

01 Shaheena (The Falconess) 29:55
02 Shaira (The Poetess) 31:46

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Behind crumbling of pink florets, which forming the floral wall, a figure of some woman start to appear in ambiance of aromas, spinning around paper umbrella. Landing to the ground, her tender motions merge with breeze, with airy murmuring of may-lilies. Possibly, she is an incarnation of first kiss, its impersonation in reality. Red seal on her lips is made by Sun – there's something, about what she can't talk – it's the seal of deep silence, which sleeps in caves, in meek jingle sounds. Full regeneration with loss of face – the price of art dedication. This image comes true in Japanese Geisha – the keeper of old traditions, the man of art (to be more correctly, woman of art).

Klause Wiese, German sound fabler, sent one of his works directly to this character. Gentle tinkles are similar to her pace, that is so delicate and organic. Glance, fanned by swings of the color fan, falling apart into sea waves, smashing on the greenery of the rocks. Going with water spirit of a heron, she is dancing with mermaids, with  nymphs of the wood. That person, who adsorbed century mind flows, became identical to nameless cascades, which don't know about their sacrosanct beauty.

Music, that sounds by soft touches of romantic play, invites its listeners to the shore of lone diving into the sea, which is full of bottom glowworms, performing mild melodies on the luminous instruments.

Klaus Wiese - Geisha ( flac   322mb)

The Pearl And The Princess
01 Part One 5:37
02 Part Two 20:41
03 Part Three 5:05
Gemini
04 Part One 22:46
05 Part Two 8:03

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Samarkand is another psychoactive sound design by overtone master Klaus Wiese. This recording of Tibetan bowls, zither, and keyboards is just as special as any recording in this style. Listeners are free to choose their own pathways and spirituality. Wiese is only providing the vehicle -- he's not a tour guide. Focused listening is the only option. The warm, organic textures and timbres will caress listeners gently and provide protection along the chosen route. Because listeners choose their own paths, there are limitless adventures available on this album. It is essential for all fans of healing music .....

Klaus Wiese - Samarkand (flac   191mb)

01 Intro I 1:56
02 Déjà vu 28:19
03 Intro II 1:23
04 The Dream 16:53
05 Fergana I 5:16
06 Fergana II 6:31

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Klaus Wiese is a veteran e-musician and minimalist. He was a member of Popol Vuh and has collaborated with Mathias Grassow and Oöphoi. But his real calling is as a sound healer. Uranus is a large-scale atmospheric work that has all of the characteristics of true minimalism except for one -- there is no mechanical repetition. The bowls certainly have electronic qualities and trance-inducing textures. Indeed, even simple tasks (like writing) can become difficult under the spell of these magical soundscapes. From a dictionary definition standpoint, this is truly minimalist -- there is only one instrument. From a musical standpoint, these are wonderful, meditative, healing atmospheres.

Klaus Wiese - Uranus Tibetan singing bowls (flac 155mb)

01 Tâ há I 29:52
02 Tâ há II 30:23

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