Klaus Schulze
Cyborg

A name that we have seen on random nightclub or rave posters for at least 20 years. The cyberpunk of Suicide and films is formed, but luckily in 1972 someone became unsurpassable by the multitude of DJs that followed him. The blonde Schulze, together with the other blonde Gottsching, brought manna from heaven to all the German boys and beyond. The beginning was crackling, a shock, a creative expulsion that surpassed some dull English and American products even at the time. Having abandoned initial projects with Tangerine and Ash Ra Tempel, he published "Irrlicht" which contained that very strange and surreal "Ebene." But these works didn't just contain tracks, they had a real conception regarding making music, which had to intervene socially, on young people and their "philosophical" thoughts. It is certainly a good help for those doing Yoga to listen to Popol Vuh, but apart from the interests and lifestyles that all people in the world can have, these are artistic works, like a Rothko, Miró or Ernst.

The Beatles helped and facilitated many minds in making albums and genres, but to go as far as Schulze had already gone in 1972 makes it reductive to talk about influences or possible musical loves of Klaus. He may have been thrilled to hear "Some Velvet Morning" by Vanilla Fudge years before, like many of the era, but when it was his turn to compose a record he certainly surpassed certain illustrious ideas of the Seventies. Now bands, with their tours, promotions, interviews on millions of YouTube channels, radio, and various outlets, take two years to make a record and another three to make another. Meditating on ideas is commendable as an aspect. But here, in the same year, Schulze produced "Irrlicht" and "Cyborg"! Was it so easy for him to play? It could have been, but there's more. We find an approach to music not intended as "duty" or "luckily they heard this little song of mine on the internet and now I have a contract with a record company that is writing the melodies, on which I will put two verses that rhyme or almost." Here, there is the desire to play, first of all, and then, since class is not water, the possibility to leave a mark. They certainly didn't want to spread a genre with which, twenty years later, we would have the amusement of naming and thrilling ourselves on websites giving it ghettos "pre-industrial/post-krautrock/cyber-noise-techno..." The response was to the nations that spread rock and the demonstrations were not low at all.

The beginning "Synphara" is marked by the flights of electronic fancy, while the mood, not desolate and desperate of "Irrlicht," tinges with occult visions. The chamber orchestra with numerous cellos, violins, and flutes supports Klaus's sonic wall. "Conphara" leaves no room for reflection but is a mental whirlwind that storms upon us. More than the pace of today's minimal... here it anticipates raves, to reassure some frowns after reading "chamber orchestra"... There's nothing more beautiful than rock and electronics when they marry other shores; in fact, the bland pop of the radio is frivolous because it is not coined with rock or with those beautiful 90s drum and bass bases ("Per Un' Ora D'Amore" by Matia revisited with Subsonica for understanding...). The gradual intensification of tones is enriched slowly by all elements, liberating the compositions from stagnation. It is noteworthy the desire not to create atmospheres or variations of feelings, but rather to propose the aseptic nature of a structure of few chords and carry it forward, relying on the listener's neurotic shock.

"Chromengel" is the darker, scarier side that leads to a reduction of the "noise" element and an increase in the power of the symphonic message. The tweets of synthesizers are the factors that estrange the ear, which bases itself on the balance provided by the melody of violins and ambient. We try not to let anything escape us, we try to identify the deeper thoughts that can arise in the mind upon listening to this beauty; because you're not listening to music, you're living in a world. The emotional impact is strong and with the final "Neuronengesang" one can decide whether to "turn on the light" or persist in this succession of clouds and solitude. You eclipse yourself thinking and hoping that something comes to break the tension, but you subscribe to emigrating to divinely unknown lands. Now we just have to read the notes, enough vocabulary.