Klaus Schulze
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Klaus Schulze
Real Name:
Klaus Schulze
Profile:
Born August 4th 1947, Schulze initially made his mark as a drummer, first with the group Psy Free, later with Tangerine Dream (he played on their first album "Electronic Meditation" before he quit) and Ash Ra Tempel (with Manuel Göttsching). In 1971 Schulze started a solo career as an electronic musician and released a couple of heavily experimental albums, "Irrlicht" and "Cyborg". 1974's "Blackdance" was the first release where he used a "real" synthesizer, and later in the 70's he would record albums as "Moondawn", "Mirage" and "X" and embark on several tours, documented across a number of live albums.
In 1978 he set up the label IC (Innovative Communications), and the following year he also launched the pseudonym/project Richard Wahnfried. In the 1980's Schulze continued his hectic release schedule as well as recording several soundtracks and rebuilding his studio (he "went digital" in 1986), and whereas IC was shut down in 1983, the label Inteam was established the following year.
In the 1990's Schulze recorded several electronic interpretations of works by classical composers (most notably Wagner) as well as collaborating with opera singers and other classical music performers on his own albums. He also started collaborating with German ambient/techno artist Pete Namlook in the series "The Dark Side Of The Moog" on the latter's Fax label, and steered the Wahnfried project into a more modern techno- and trance-inspired direction.
In 1978 he set up the label IC (Innovative Communications), and the following year he also launched the pseudonym/project Richard Wahnfried. In the 1980's Schulze continued his hectic release schedule as well as recording several soundtracks and rebuilding his studio (he "went digital" in 1986), and whereas IC was shut down in 1983, the label Inteam was established the following year.
In the 1990's Schulze recorded several electronic interpretations of works by classical composers (most notably Wagner) as well as collaborating with opera singers and other classical music performers on his own albums. He also started collaborating with German ambient/techno artist Pete Namlook in the series "The Dark Side Of The Moog" on the latter's Fax label, and steered the Wahnfried project into a more modern techno- and trance-inspired direction.
Sites:
Aliases:
In Groups:
Ash Ra Tempel,
Din A Testbild,
Galactic Supermarket,
Software,
Stomu Yamashta's Go,
Tangerine Dream,
The Cosmic Jokers,
The Dark Side Of The Moog
Variations:
Marketplace 10,352 For Sale
Klaus Schulze Discography
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Reviews Show All 26 Reviews
phantammeron
October 27, 2015
Thank you Klaus Schulze for your inspiring work. I am a huge fan here in the US and always discovering new and amazing things in your music. Being a Richard Wagner fan, I can feel the influence in your music in the epic qualities portrayed therein. I look forward to listening to more of your work, as it has inspired my own art and writing. Best of luck to you :)
TheBishopde
June 16, 2015
Klaus Schulze is a phenomenon. Just listen to his debut IRRLICHT - without any Synthesizer he created everything known today as "ambient" or "drone". Long before Brian Eno even thought about such soundscapes. Schulze made his mark all along the Electronic Music timeline, call it Berlin School, Ambient, Trance or Chillout. Tell me anyone, who "invented" a "new" electronic style...I name you an even earlier Schulze album with that music already explored.
For those about to discuss KS and his magnificent music, join us on Facebook: Deutsches Klaus Schulze Forum (don't mind the "Deutsches", we are international though) ;-)
For those about to discuss KS and his magnificent music, join us on Facebook: Deutsches Klaus Schulze Forum (don't mind the "Deutsches", we are international though) ;-)
cosmit
June 18, 2013
edited over 4 years ago
"Ah, the master has done it again. I firmly believe that Klaus Schulze is as important to electronic music as BACH or MOZART were to classical music"
July 1984, "Synthetic Pleasure, USA"
Totally agree!
July 1984, "Synthetic Pleasure, USA"
Totally agree!
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TimaMachine
September 30, 2012
edited over 4 years ago
The fact that there is only one comment here and it being negative about the great Klaus Schulze should tell you a little bit about this site's demographic and user base. Now just head to a release by Drexciya, Jeff Mills, Aphex Twin, Basic Channels, and so on... and read people drooling about how amazing some of these overrated producers are. You also find users fighting like little kids over who started techno and all that nonsense. I guess it makes them happy to think that their favorite artist was the one who started it all. Personally I don't consider myself a fan of any particular artist (Klaus Schulze included), I am only a fan of good music regardless of who is behind it. Unfortunately fanboys usually fail to admit when their favorite artist does a poor job, they somehow feel obligated to defend. However, the more music you listen to it becomes easier to separate true talents from the untalented and calling KS "untalented pioneer" is simply laughable. Like so many prolific artists KS discography includes highs and lows; despite that his overall influence on the evolution of electronic music is essential. Although a lot of wanna be producers have tried, there are only a handful out there (KS included) that can make a 30min+ track so enjoyable and worth listening to again and again. For god's sake, producers of today can barely make a 3min track enjoyable. Now if you want to go back and find origins of say ambient, electro, techno or trance, you might as well put KS on top of your list. The sounds this guy was making during his late 70s/early 80s period have so many trademarks of what trance music should be and that is "putting you in a state of trance". Yes, it's not club trance with beats and all that but it certainly is a precursor to the hypnotic and spacey trance sounds of early 90's picked up by the likes of Dance 2 Trance and others.
Is it a surprise then that even the Trancemaster 4 compilation from 1993 included "Druck", a track composed by KS 22 years before this compilation came out?
With that said, here's my little recommendation for those who want a good taste of Berlin School of music and KS for that matter, check out some of these albums, the tracks inside brackets are personal picks and the ones that get a solid 5/5 from me. This is merely a teaser compared to Klaus Schulze's overall output throughout the years.
"Timewind" (1975) ----> [Bayreuth Return]
"Moondawn" (1976) ----> [Floating] (His best track for me, after 7min mark, it's progressive heaven)
"Body Love" (1977) ----> [P.T.O.]
"Body Love Vol.2" (1977) ----> [Nowhere - Now Here]
"X" (1978) ----> [Friedrich Nietzsche, Georg Trakl, Frank Herbert]
"Tonwelle" (1981) ----> [Druck]
"Drive Inn" (1984) ----> [Drive Inn, Highway, Road Clear]
"Transfer Station Blue" (1984) ----> [Communiqué: "Approach Spiral"]
"Dreams" (1986) ----> [A Classical Move]
"Miditerranean Pads" (1990) ----> [Decent Changes]
"Beyond Recall" (1991) ----> [Brave Old Sequence]
"Trance Appeal" (1996) ----> [A Chilly Fiesta, Esprit Sans Frontieres]
"Drums ´N´ Balls (The Gancha Dub)" (1997) ----> [House Of India]
"Dosburg Online" (1997) ----> [L'Age Core, The Art Of Sequencing]
Is it a surprise then that even the Trancemaster 4 compilation from 1993 included "Druck", a track composed by KS 22 years before this compilation came out?
With that said, here's my little recommendation for those who want a good taste of Berlin School of music and KS for that matter, check out some of these albums, the tracks inside brackets are personal picks and the ones that get a solid 5/5 from me. This is merely a teaser compared to Klaus Schulze's overall output throughout the years.
"Timewind" (1975) ----> [Bayreuth Return]
"Moondawn" (1976) ----> [Floating] (His best track for me, after 7min mark, it's progressive heaven)
"Body Love" (1977) ----> [P.T.O.]
"Body Love Vol.2" (1977) ----> [Nowhere - Now Here]
"X" (1978) ----> [Friedrich Nietzsche, Georg Trakl, Frank Herbert]
"Tonwelle" (1981) ----> [Druck]
"Drive Inn" (1984) ----> [Drive Inn, Highway, Road Clear]
"Transfer Station Blue" (1984) ----> [Communiqué: "Approach Spiral"]
"Dreams" (1986) ----> [A Classical Move]
"Miditerranean Pads" (1990) ----> [Decent Changes]
"Beyond Recall" (1991) ----> [Brave Old Sequence]
"Trance Appeal" (1996) ----> [A Chilly Fiesta, Esprit Sans Frontieres]
"Drums ´N´ Balls (The Gancha Dub)" (1997) ----> [House Of India]
"Dosburg Online" (1997) ----> [L'Age Core, The Art Of Sequencing]
ttooyyss
August 28, 2012
edited over 4 years ago
Bloody untalented (but undoubtly a pioneer). Lacks of any ability. No musical gift, no sense to the synthesizers. I know most of his releases (ca. 70 albums, maybe more and I can't help but saying: some are simply discusting) and have owned many houndreds of vintage synthesizers and studio technics. So I know what makes a man a synthesist. He always had all the best instruments and incredible amount of equipments. How the hell they are remained soo dull, and characterless under his arms? Unbeliveable. Pity, Klaus Schulze remained a beginner forever. No music, no developement, but all the time just exactly the 2 chord-changes like of a child's work, most of the times just boring background music. Most of the sonic timbres he has used are just factory presets from his actual synths. Many of the sonic timbres are used throughout multiple albums. The mixing of the music is equally horrible most of the times: ALL the instruments were sent through a bloody sounding digital reverbator, even the kick drum too, just to make all more kitschy. With such a womanish face one is selfexplanatory unable to creat music. Just look at him! Boooaaahh.. (And he is not the only one in the genre I can say it all. Software, Peter Mergener, early Kitaro....) Sorry, I can't say anything good about Klaus Schulze despite of how I admire this kind of music genre (Berlin school, new-age electro prog....). OK. He was always among the pioneers but there are soo many wonderful artist in this (or similar electro) genre:
Kraftwerk is the god of all.
Isao Tomita is the grandioso monster artist.
Logic System - Logic album is one of the best ever.
The less known Johan Timman's Trip into the body is an artistic, pure Moogy showcase.
Tangerine Dream - Exit and White Eagle are outstanding even from their discography.
Jean-Michel jarre?? Oxygen is the timeless, perfect creature.
Vangelis?? Huh... The Greek hero of synths and musical progression.
How the hell could one set K.Schulze among these?
Kraftwerk is the god of all.
Isao Tomita is the grandioso monster artist.
Logic System - Logic album is one of the best ever.
The less known Johan Timman's Trip into the body is an artistic, pure Moogy showcase.
Tangerine Dream - Exit and White Eagle are outstanding even from their discography.
Jean-Michel jarre?? Oxygen is the timeless, perfect creature.
Vangelis?? Huh... The Greek hero of synths and musical progression.
How the hell could one set K.Schulze among these?
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Favourites
by jai23
Synthesists
by bicho
littlewilliejohn
March 17, 2016I dislike categorical pronouncements of any sort, and I think that Schulze's chief fault (aided and abetted by his manager Klaus Mueller) is his inability to edit himself. Consequently, there's a lot of Schulze material available which is extremely boring and predictable -- like (as several critics have observed) he has flipped the automatic pilot switch. But then again, I find his best work, early and recent, to be exquisitely beautiful. So for the less than serious Schulze listener, it can be a question of what he/she has been exposed to.