Klaus Schulze ‎– Irrlicht

Label:
Ohr ‎– OMM 556.022
Format:
Vinyl, LP, Album, Gatefold
Country:
Released:
Genre:
Style:

Companies, etc.

Credits

  • Music By, Electronics [E-maschinen], Organ, Guitar, Zither [Zitter], Voice, Chorus, Percussion, Producer, Engineer, Cover, Photography ByKlaus Schulze

Notes

Includes an insert.
Cover laminated on the outside only.

Subtitled: "Quadrophonische Symphonie für Orchester und E-Maschinen".

Orchester mit 4 Erste Geigen, 4 Zweite Geigen, 3 Bratschen, 8 Celli, 1 Kontrabaß, 2 Hörnern, 2 Querflöten, 3 Oboen
Vielen Dank dem Orchester, dem Kapellmeister und dem Dirigenten für die schwierige Unterstützung!

Fünfundzwanzigste Ohr-Platte. Aufgenommen 1972 im Musiksaal der Freien Universität Berlin und im Studio Klaus Schulze.

Seite 1: Total time 29:00

P. 1972
Made in Germany by Ohr/Metronome Records GmbH

Nur Stereo und Mono abspielbar

Barcode and Other Identifiers

  • Rights Society: GEMA
  • Matrix / Runout (Side A runout, stamped): 0664 179 S1 OMM 556 022 A ℗ 1972 320 1
  • Matrix / Runout (Side B runout, stamped): 0664 179 S2 OMM 556 022 B ℗ 1972 320 1

Other Versions (5 of 40) View All

Cat# Artist Title (Format) Label Cat# Country Year
BRAIN 1077, 0001 077 Klaus Schulze Irrlicht(LP, Album, RE) Brain, Brain BRAIN 1077, 0001 077 Germany Unknown Sell This Version
CDTB 133 Klaus Schulze Irrlicht(CD, Album, RE) Thunderbolt, The Magnum Music Group CDTB 133 UK 1991 Sell This Version
MOCCD 13192 Klaus Schulze Irrlicht(CD, Album, RE) Music On CD MOCCD 13192 Europe 2014 Sell This Version
1077 Klaus Schulze Irrlicht(LP, Album, RE) Brain 1077 Germany Unknown Sell This Version
BELLE 182881 Klaus Schulze Irrlicht(CD, Album, RE, RM, SHM) Belle Antique BELLE 182881 Japan 2018 Sell This Version

Recommendations

Reviews Show All 4 Reviews

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Simoom

Simoom

March 8, 2018
This is my favourite KS record. This is haunting space music I've never heard such thing before. I have the 2006 rerelease by reveisted and I can only advise this version to anyone. thank you kS !
ole.grung

ole.grung

October 9, 2017
I discovered Klaus Schulze while I was listening to electronica. His collaborations with Pete Namlook has provided one of the biggest discographies I have ever seen, with over 130 albums on his account alone. But in the beginning Klaus was all about exploring the possibilities of his synthesizer, after leaving Manuel Göttsching and Ash Ra Tempel behind. "Quadrophonische Symphonie für Orchester und E-Maschinen", the undertitle of this release, shows what he sought to create with his toys. It's really a haunting experience, and one of the toughest albums I've listened through. But that is what makes it all that special. When it's all over, you feel a sense of relief, like you have endured something rather than listened to it.
kehlstein88

kehlstein88

March 23, 2017
it changed my life definitely, thank you very much Klaus
ultimathulerecords

ultimathulerecords

February 25, 2014
So, with the aid of a small orchestra (who thought Klaus was mad), several tape machines, electronic gadgetry, an organ, guitar, percussion and various odds and ends, Klaus went on to produce what is arguably the first real "cosmic" electronic album (Tangerine Dream's ZEIT was recorded a month later!) despite the absence of any real synths. What was created is a music that is flowing, spacious, melodic yet also abstract, featuring sequential or systemic type patterns (a touch of Terry Riley maybe) and an overdose of effects taking the listener into the nether regions of infinity. In three parts, yet almost sounding as one piece, IRRLICHT offered a choice of directions for Klaus to pursue: the sequential style of Ebene, the dramatic chance electronics of Gewitter, and the abstract reverse tape cosmic cacophony of Exil Sils Maria. Another track: Land appeared on the KOSMISCHE MUSIK sampler suggesting even more Terry Riley influence. Although recorded three months later, Land was very much in character with IRRLICHT, it further went on to consolidate Klaus' talents as a keyboard musician and engineer, and despite being voted number 5 instrumentalist of the year in German Sounds magazine he still remained relatively unknown in his homeland.
From my Klaus Schulze feature in Audion #21, published in May 1992