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| Discography |  |
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Reviews |
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» This new release by Germany's premier synthesist sets new standards in electronic music
innovation. It's a perfect follow up to the critically acclaimed live performances from the Royal
Festival Hall Vol. I & II CDs released late last year. Klaus is at the pinnacle of creativity in this
concert recorded at Cologne Cathedral... The title cut is structured very much like a classical
music piece with three movements... The last piece, After Eleven was recorded at Klaus' studio.
On this album Klaus has bridged ambient electronic music, classical, and world music in only a way
that this German master could do it. He used sampling extensively on this album... It's a superb
album in every aspect. Recorded directly from Klaus' mixer to digital recording equipment, it's an
audiophile recording. This process leaves out the audience noise, but who wants to hear that on
a disc like this anyway? Klaus Schulze remains a distinctive musician, masterful arranger, and
after over two decades of recording and performing, still a major force in modern music. My only
complaint was that it ended too soon. I highly recommend it. « (5/93, B. Kettlewell, written for "Dreams Word", USA) |
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» ... Again, another uncompromising beginning, Nachtmusik. Schattenhaft shifts uneasily between
strange sampled sounds and voices and just maybe reflected the composer's initial unease. Allegro is generally more accessible but still sounds fresh and contemporary. It is here that KS
again shows his credentials as one of the most important figures... ...the studio track After Eleven to me represents a real peak. Male and female voices interweave over a deceptively soothing synth background until a superbly controlled percussion sequence bursts forth... ...an exceptional track. ... KS is back. With a vengeance. « (6/93, SR, "Zenith", Great Britain) |
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» Recorded live at the Cologne Cathedral, this hour-long opus is a monument to electronic
virtuosity and sheer endurance. ... Schulze weaves crystalline samples and brisk solos against an
electronic background that shifts through textures and rhythms while never disrupting the
generally grim overall mood. Though divided into three sections, which are chopped into tinier
titled episodes, The Dome Event moves along more like a river than like a traditionally composed
piece. Vocal samples, stirred into a cross-cultural stew along with simulated shakuhachi, tabla,
guitar, and more abstract synth sounds, lead the way from the intro into a long string of
improvised lines, free-meter percussion patterns, and drones. ... Brilliant sounds sparkle, then dim
into the passing scenery. Though we seem to drift along the free flow of Schulze's improvisation...
... By the time Schulze hits the last section, which he calls Finale: Tutti Synthi, a galloping
accelerando is sweeping us toward a genuinely exciting finish. The Dome Event rewards those
with the patience to be led through a vivid listening experience. « (8/93, "Keyboard", USA) |
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» Le titre principale The Dome Event - Op. 119, D-minor", a été enregistré à Cologne le 11 mai
1991. Klaus joue une musique d'inspiration Moyen orientale, langoureuse à souhait, mais peut-être
un peu trop monotone et se rapprochant de Dresden II. Une impression due certainement au
rythme lent voire sensuel. Mais nous sommes dans un "Allegro", ne l'oublions pas. ... Après ce long opus de plus d'une heure arrive After Eleven qui est un morceau studio de 1992 de très bonne facture, et finalement bien dans le ton de la partie "live". En résumé, une æuvre majeure dans la carrière de Klaus Schulze... « (1/94, "Crystal News", France) |
