Klaus Schulze
Audentity

The 1980s were a controversial period for the great father of modern electronics, Klaus Schulze: objectively, he went through this decade also releasing albums that were decidedly minor for his quality standards. But despite this, he demonstrated moments of genius, as in the double album "Audentity" (1983), a monumental and grandiloquent work full of avant-garde music of great depth. In 1979, Schulze founded the record label Innovative Communications, dedicated to electronic music, with Michael Haentjes and under the supervision of trusted manager Klaus D. Muller. This label released many interesting artists, including the German new wave group Ideal (1980), the small Italian Schulze Baffo Banfi ("Ma, Dolce Vita" - 1979), former keyboardist of Un Biglietto per l'Inferno, some historic reissues of Popol Vuh ("Affenstunde" -1980), and naturally the records of Klaus Schulze himself such as "Trancefer" (1981), "Dziekuje Poland" (1983) and also this "Audentity". For this project, the German artist was accompanied by cellist Wolfgang Tiepold, by Michael Schrieve on drums, formerly with Santana, and by his friend Rainer Bloss. It was not an easy and calm phase for Schulze as he had serious problems with alcohol that prevented him from being consistently clear-headed, so much so that he was unable to keep control of the finances of Innovative Communications: after some time, the label had to close its doors.

The first track "Cellistica," after an atmospheric start, is characterized by the great work of cello by Wolfgang Tiepold that manages to give new nuances and colors to the sounds. The subsequent "Tango-Saty" is not among my favorites: the sounds of the synth and percussion seem banal and lacking in punch. "Amourage," on the other hand, has a calm and romantic avant-garde mood, while in "Opheylissem" the typical electronic rhythms of the Schulze-sound return. The second side opens with the long and minimal "Spielglocken": the settings are icy with the sound of the Glockenspiel by Rainer Bloss imparting particularly sad tones to the whole. The final track "Sebastian Im Traum," dedicated to the great Austrian poet Georg Trakl, already honored in "X" (1978), is an authentic masterpiece. This is high-level avant-garde in which Klaus Schulze demonstrates great genius, unleashing all his solid background in contemporary music. The first part is very abstract, marked by the cello of Wolfgang Tiepold and by the sounds of concrete music like the creaking of doors closing. The atmospheres are very tense, then the sad sounds of the keyboards and Glockenspiel create a refined and unreal timeless atmosphere: we are in pure Sturm Und Drang. Sounds of off-screen voices and the cello continue this metaphysical journey. The finale is characterized by avant-garde sounds that envelop us in their sinuous spirals, leading us to the end of this authentic tour-de-force. The 2005 reissue by Revisited also includes the interesting bonus track "Gem".

"Audentity" is a great album that should not be missing from the collection of any Klaus Schulze lover. It is not easy when compared to certain highly engaging albums of the '70s, but in any case, it contains great music.