 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
| Discography |  |
 |
Reviews |
 |
 |
».... I don't really know what inspired the last few releases from IC and KS but they did give us
the "dark" side of one of the world's finest electronic musician. This latest release shows us the
"brilliant" side. This is electronic music in its finest form! Sweeping patterns of sound that are alive with a power and a pulsating beat that only Klaus Schulze can control. Here is the old Schulze that gave us Body Love, Moondawn and Timewind. Here is the true majesty of electronic music presented by an artist who do not only commands the technology but also the artistry. Side one of the album has three songs, all somewhat different in their approach. Starting out deep and melodic is On the Edge. Colors of Darkness is a very strong composition that could be a chase scene in a movie. The final cut, Le Beat Planante, is smoother with an almost meditative feeling. Side two is a side-long composition, the title cut. Everything that Klaus Schulze has ever done in electronic music has been put into Inter*Face. Everything that has been put in has been tuned to perfection!« (12/85, "Synthetic Pleasure", USA) |
|
|
|
» The Boss ist back! After his disappointing collaborations on his Inteam label, Schulze has
returned to his old label, Metronome, and this advance tape indicates his loss of creativity was
contemporary. Side one consist of three pieces, all moody and orchestral, with prominant
synthetic string sections and electronic percussion. The frequent key changes and restrained
dissonance give the orchestral elements a restless, romantic quality, reminiscent of Wagner and
Mahler, while the electronic percussion, sequencers, and other "hard edges", provide a modern
context. One piece, Le Beat Planante, suffers from electronic percussion, but side one bears up
under repeated listening. The long title piece, on the other side, also bears up well, but it is much
more in the Schulze space music tradition, and incorporates many riffs and instrumental voicings
from earlier albums, while adding new wrinkles - such as tympany - to avoid redundancy. Side one
probably points more to the future; side two is certainly a strong summary of Schulze's music
perspective.« ('86, B. Tilland, "Sound Choice", USA) |
|
|
|
»Klaus Schulze: Inter*Face. Es ist wie bei Beckett: Es passiert nichts, mag es auch noch so absurd
klingen. Ewigkeiten lang hält sich Klaus Schulze an einem einmal festgelegten Thema auf, variiert
vereinzelt Rhythmen und Klänge, moduliert hier und da einzelne Töne der Sequenzen und improvisiert mit unendlichen Soli um diese Basis herum. So wird die Musik statisch und sinnvoll
monoton. Denn diese Eintönigkeit ist das Relevante, ist das, was die sogenannte Realität ausser
Funktion setzt und Gehör, Gehirn und Gefühlsnerven sensibilisiert. Er hat wohl auch nie Anspruch
an irgendeine Polularität gestellt, und so geht der alte Pionier weiterhin seinen alten Weg.« (1/86, A.J.N., "Indiskret", Germany) |
|
|
|
»Ya nos ha llegado el tan esperado para muchos (para mí algo menos) último LP de Klaus Schulze,
Interface. Tengo - que decir que siento mucho lo que está haciendo ahora, parere como si se le
haya acabado la imaginación, preocupándose excesivamente de tecnificar su música, en aras de una
pérdida evidente de capacidad imaginativa. La música se ha sofisticado de tal manera que ha perdido - la frescura de anteriores trabajos. Unicamente se salva - ría el tema que da título al LP, Interface, que con sus - casi 25 minutos, alcanza cotas de exquisita fluidez. ...« (5/85, "Syntorama", Spain) |
