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| Discography |  |
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Reviews |
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»This is the sort of record that is going to be enjoyed by some and hated by others. ... He
displays his fascination for electronics and his growing technical sophistication in a barrage of
weird and sometimes wonderful sound. « ("Western Evening Herald", Plymouth, England, 30 August 1974) |
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»This album is something of a departure for Schulze, and is decidedly baroque in feel - reflecting
his affinity for music from that era. The music displays his fascination for electronics, and his
growing technical sophistication, while never falling short of our expectations...« ("Woking News", Surrey, England, 29 August 1974) |
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»Blackdance is both a statement against the anti-humanity of most electronic composers and a
celebration of life in an instinctly baroque vein utilising the human voice, together with a plethora
of keyboard instruments... It is a record worth investigating.« ("Malvern Gazette", England, 1974) |
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»Virgin records have done it again! They've scooped another major German electronic
experimentalist. With almost all the important electronic luminaries now residing in Germany,
Virgin have done well to sign Klaus Schulze to their Caroline label. Klaus is one of the most gifted, versatile and inventive musicians in Germany (and in the world too!) as this excellent, excellent album will prove to anyone bold enough to sample it. No good listening to this in a record shop. You'll just have to take my words of recommendation and buy it. ... A really superb album.« (John Sivyer, "Welwyn Times", England, 6 September 1974) |
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»Schulze strikes as one of the better German musicians, avoiding much of the repetitive paranoia
of his competitors, who seem to believe that acceptance comes after hard work with one idea.
Rather frightening and eerie music, though; keep away from suspectible minds.« ("York Star", England, August 1974) |
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»...and now Klaus Schulze, whose Blackdance is a gem. Schulze has been described as one of the
few electronic composers to put feeling into essentially dead machines, and Blackdance proves
that to be true. If you're into headphones and total communication between a truly creative
artist and your own brain then fork out the £1.95, wait till late, plug in and take off! If Perry
Como or Gary Glitter is your trip then forget it!« ("Luton Herald", England, 23 August 1974) |
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»Again, Klaus works on the inner recesses of the mind or outer space, whichever you choose. His
electronic music pulsates with an airy flow. Spaced but, not at all difficult. Quality. Special
programming.« ("Walrus", USA, 11 September 1974) |
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»Ce génie de Klaus Schulze a donc lui aussi signé chez Virgin. ... Sa musique conserve sa
magnifique sérénité, elle étale avec magnificence ses épanchements d'orgue, ses cycles discrets
et fascinants, avec de temps en temps une tāche de guitare ou un envoi de percussions endiablées
pour donner d'autres dimensions à cette fresque de l'évasion totale. Ways Of Changes est
vraiment un chef-d'œuvre, par example. ... Klaus Schulze a tous les pouvoirs d'un sorcier, avec en
plus toutes les qualités d'un musicien d'avant-garde dont on n'a pas fini d'entendre parler.« ("Best", France, January 1975) |
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» .... His first solo shot surpassed even the most grandiose expectations. ... Cyborg was his
second release and a double at that. ... Several months later a new work was released on the
Caroline label... Not as spatially profound as its predecessors, Blackdance is nonetheless quite
fascinating. ... Voices of Syn, side two's sole piece, features a male vocalist conducting a liturgy over drones. Thankfully they disappear shortly, allowing treated percussion to fill the space voided by human meanderings. The only guests Klaus ever needs are his electronic devices. The vocalist that mar such efforts can go back to the opera or join Magma.« (Archie Patterson, "Eurock", USA, March 1975) |
