Limited to 300 hand-numbered copies. The Schulze-Schickert Session in Hambühren on 26 September 1975 with the Godfather of electronic keyboard music Klaus Schulze and the echo guitar pioneer Günter Schickert
Before fading away into obscurity, Klaus Schulze had a few more great albums in him. Dig It is the first of those and a must-have for fans, especially in the re-issued 2005 version…
Complex re-release of the most remarkable and worldwide sought afterSeries The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and the Bonus CD. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on 'Dark Side Of The Moog, Vol.8'…
The present box is the the last of five. Together it's 50 CDs of music by Klaus Schulze. It includes the former sets Silver Edition (10 CDs), Historic Edition (10 CDs), Jubilee Edition (25 CDs), and five new albums made especially as bonus for The Ultimate Edition.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. 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.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. "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.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. On April 19, 2011, a third version of "Big in Japan" was released in the United States. The American Edition set (which is in blue) contains a DVD with the three tracks from CD 2.
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. The title "Moonlake" refers to Schulze's love of the Austrian Moonlake and the monumental fascination radiated by this lake and its surrounding landscape. All of this is perfectly reflected in the intensity and power of this album. "Moonlake" is nevertheless a typical Klaus Schulze album, one that in the words of Schulze "unites tradition and vision". There is a noticeable focus on percussion on "Moonlake", which hasn't been found on Schulze's albums for some time. While rhythm was often used as an element to supplement the music on his earlier albums, it takes on a more dominant role on "Moonlake".
Klaus Schulze is a founding member of Tangerine Dream and Ash Ra Tempel, two seminal bands in the evolution of synthesizer-based electronic music. Ballett 1 is the first of four works to have been composed and recorded by Klaus Schulze after the passing of his mother in 1998. It is one of those pieces in which Schulze moves dangerously close to classical music. He's flirted with it before with various qualitative results. There are three pieces (or movements if you like) that make up this nearly 77-minute work. Schulze manages all the keyboards, naturally, from sequencers and samplers to multi-chordal synths.