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| Discography |  |
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Reviews |
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» Qui est Klaus Schulze? Klaus Schulze est un des grands innovateurs des Années 70; l'inoubliable
créateur de "Timewind"; un des plus grands experts mondiaux en matière de synthèse de sonore
et d'électronique au service de la musique. De l'expertise du savoir-faire, Trancefer en est
bourré; c'est même l'essentiel de son contenu: inutile de redire la finesse et la qualité des sons
que K.S. peut créer, c'est en quelque sorte un magicien sans égal; mais on peut s'apesantir sur la
démonstration qu'il fait ici de sa belle maîtrise de la prise de son sous toutes ses formes, y
compris "digitale", et de toutes les techniques de studio; de son art de remplir le spectre sonore
audible d'une multitude de voix qui vont des vibrations abyssales du sous-grave que seul le
diaphragme perçoit au scintillement de cette poussière d'étoile dont il irise l'extrême aigu. ... « (1/82, J.M.B., "Rock & Folk", France) |
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» ... Trancefer est la suite logique de sa quête vers d'autres sons, plus purs, plus beaux et plus
surprenants encore. Deux titres seulement qui semblent être la suite l'un de l'autre tant ils sont
proches par l'esprit: progressions lentes et boucles multiples, nappes mystérieuses surgies de ces
machines un peu étranges où le clavier du piano voisine avec le clavier de l'ordinateur. Trancefer,
le souffle d'un romantisme électronique que personne à ce jour ne fait passer aussi bien que
Schulze, soutenu ici par le violoncelliste WOLFGANG TIEPOLD et par les percussions de MICHAEL
SHRIEVE. Toutes les innovations de la musique électronique allemande dont Klaus Schulze fut l'un
des pioniers ont été joyeusement pillées par l'industrie du disque dans la réalisation des
productions les plus commerciales. Attendrons-nous que les sons digitaux envahissent la variété
avant de réaliser - dans deux ans, trois ans - que Trancefer ouvrait la voie en 1981?« ('81, J.M. Reusser, "l'autre monde", France) |
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» Like fellow German Conrad Plank, Klaus Schulze is as well known as a producer as he is as a
performer. Trancefer is his umpteenth album and despite his prolific output the standard
remains very high. . . . With Schulze's beautifully understated synths complemented by WOLFGANG TIEPOLD's cello and MICHAEL SHRIEVE's percussion, the sound has a threedimensionalism you can almost touch. The side two-long Silent Running is a little more "up" and best illustrates his ability to explore uncharted territory without losing his way or the attention of his listeners. I can't pretend to have heard all of Schulze's many works, but compared to the landmark albums of his I have heard - Cyborg, Blackdance, Timewind and Moondawn - Trancefer stands alone.« (10/82, "Saturday Evening Mercury", Australia) |
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» Klaus Schulze's latest digital release shows a certain amount of experimentation in the
development of his "floating music". Collaborating with cellist WOLFGANG TIEPOLD and percussionist
MICHAEL SHRIEVE, Schulze's new music if full of collective improvisation. The results, like most
experiments, show mixed success; but the sign that Schulze is searching for new areas to explore
it is both evident and encouraging. ... Trancefer is an enjoyable experimental, perhaps even transitional, album that leaves me at last expecting even better things from Schulze in the future.« (12/81, K. Shelton, "Surface Noise", USA) |
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» ...A digital recording, it is haunting electronic music, with eerie washes of melody that suggest
a dream-like state. Dramatic crescendos, synthesised vocal harmonies and the crisp percussion set
it apart from most of the electronic music I have heard. A Few Minutes After Trancefer and
Silent Running are the titles of sides one and two, evoking thoughts of space travel. An
enjoyable album, with superb sound quality.« (7/82, "Good Guide", Australia) |
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» ... Klaus Schulze's album is the kind of music one has come to expect from the personnel of
TANGERINE DREAM and ASH RA TEMPEL (and Schulze belonged to both...). A natural descendant from
Blackdance and Timewind, with musical passages reminiscent of some kind of electronic version
of CARL ORFF's "Carmina Burana", plenty of sharp, repetitive, synthetic rhythms, and an
overwhelming dark Teutonic mood pervading the entire album, it has little to do with the
contemporary music scene but a hell of a lot to do with the despair produced by the mechanistic
anonymity of modern technological society. Schulze has always stood apart from the romanticism of TANGERINE DREAM and the self-conscious artness of KRAFTWERK. His music has seemed to epitomise the technological soulessness of modern Germany. If you like the bright poppiness of HUMAN LEAGUE or DEPECHE MODE, take a listen to Trancefer for an altogether grimmer vision of the synthesizer as an instrument of desolation.» (8/82, B. Elder, "Rolling Stone", Australia) |
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» Klaus Schulze is an artist of wide renown in Europe, but is little known in the U.S. ... Schulze
switched to the synythesizers in the early 1970s and forged a unique and widely influential style
often associated with "cosmic" and "space" music. Looking back over the course of Schulze's 16
albums, Trancefer can be viewed as a further advancement in his steady musical evolution. Schulze's pieces are often long and slowly developed, with a myriad of inner movements. ...Schulze is concerned with the sounds within and between notes. Silent Running generates a sense of kinetic motion and floating space simultaneously. One is plunged into a whirlpool of insistent rhythms that propel crystallized electronic images and the arcing cello of Wolfgang Tiepold through a cascade of synthistrings. ...Schulze's music is moored to an Eastern concept of time and spirituality, but it's housed in a cathedral plummeting through space. Schulze's musical metaphysics have been a dominant influence on musicians in Eastern and Western countries including Japan and America...« (9/82, "down beat", USA) |
