Klaus Schulze: Audentity
Heard Again

»Released in 1983, it's hard to believe that Audentity has this year turned the ripe old age of 20. I suppose with an artist as prolific as Klaus Schulze almost every year will bring with it the significant anniversary of another Schulze release, but for me Audentity is one that's just a little bit special.

Being 30 years of age myself, and having been a Schulze fan for only 3 of those years, I suppose I'm something of a new kid on the block, or even a mere youngster if one considers that the length of Schulze's career is now greater than my actual age (apologies if this makes you feel your age KS).

Audentity was not the first Schulze album that I purchased, but I still regard it as one of the most significant to date, and one that made me hear things a little differently thereafter, and of course got me hooked on collecting his work until the point where I had heard everything available, and was eagerly awaiting his next studio release.

With the number of re-releases, re-masters, and special editions available these days it's no strange thing to buy an artists work retrospectively.

However in the case of an artist like Schulze who at the height of his powers was IMHO cutting edge, I can only imagine what it would have been like 20 years ago when hearing Audentity for the first time with ears that were accustomed and attuned to the sounds of 1983.

As for the music itself, the blend of Wolfgang Tiepold's Cello and Schulze's driving hypnotic rhythm on the tracks Cellistica (CD 1) and Spielglocken (CD 2) are worth the price of admission alone.

These tracks could have been released in 1993 and I'll bet few would have guessed that they had been recorded 10 years earlier, so original, driving and ahead of their time they were upon first release.

Amourage (CD 1) is a quieter more thoughtful piece with soft piano, and an ideal one to reflect on after the upfront, crisp bite of Tango-Saty (CD 1) with it's razor sharp percussion provided my Michael Shrieve.

CD 1 is ended by Opheylissem which starts with an almost menacing feel backed by again more razor sharp, crisp percussion by Michael Shrieve. I like this track, and it's a nice way to finish off CD 1.

Sebastian im Traum (CD 2) is for me a very dark and avant-garde piece and I applaud Schulze for this track. It's just impossible to see how a track such as this can ever age, or sound dated such is its rich and original tapestry of sounds. The sound of doors opening and closing as the piece progresses suggesting the introduction of yet another phase in this epic 28 minute piece make it for me, something of a journey, and an excellent way to end this double CD set.«
(Graham H., from The KS Circle no. 86, October 2003)

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