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Dating 1970s ludwig drums

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He also releases the soundtrack for an erotic film called Body Love, a score that's not to be missed, especially for its sequence-loaded epic P. 1977 is again a year of reference, thanks to the second album of, most likely, the top three: Mirage, an album that's belissimo, and in which the synthesizing, sequential and ambient-marked electronic touches unbelievable expressions.After a non-vertebrate Velvet Voyage, aerial and yet sunken in an encumbered ambiance, Crystal Lake is of great interest, with a polyphonic sequence that brings more alike percussion - bells and xylophones - and leaves you breathless.

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Schulze eases on the drone style after these two works, although the same happened to many groups of the fresh electronic genre.- Born August 4th 1947 (Berlin, Germany)KLAUS SCHULZE, one of the most illustrious exponents of the kraut-electronic musical current, was born right in Berlin, the heart of the entire action.Before getting to know him as a master of electronic music, Schulze proved to be a skillful and talented young musician (with studies in modern composition at the Berlin University), hard to recognize (nowadays, perhaps) in the underground scene of the 60s.The year 1975 is, though, grand for Schulze's solo music, as much as it was a referential year for electronic by and large, composing Timewind, doubtlessly among his three fundamental creations.The album receives the French prize "Grand Prix International", in detriment of Edgar Froese's own nominated solo of that year, Epsilon In Malaysian Pale.He first of all learned to play the guitar, starring afterwards in several bands as a bassist or a percussionist.

His evolution in these ensembles can't be considered essential, still shows the consistency of moving up ahead: from the Dsseldorfian dance group Les Barones and cover-bands frenzied about Rolling Stones to the rock group Psy Free and, finally, to the moment when, from being invited by Edgar Froese to perform as a guest in his band, covering for the absence of the original drummer(I don't know if we're talking yet of Tangerine Dream, perhaps it actually concerns The Ones), he became a full, "registered" member of the group.

Schulze stays under contract with the Ohr label, releasing in 1972 Irrlicht, a drone album, tough and impersonal, experimental and processed at the same time.

Bomb number 2 is dropped one year later - and we're talking about Cyborg - a monumental double-album, in which the same rough drone language has, this time, a more mechanical, robotic, metallic, somewhat lifeless, still intense and severely hallucinating sense.

Bayreuth Return and Wahnfried 1883 are unmistakably popular references and, most likely, any big Schulze fan can comment upon them on the spot.

The sequencing is soft, hidden, glacial, much like how it sounds in Rubycon by the Tangs (and, off-topic, I often find enough similarities between that band's evolution and Schulze's own, inside the 1972-1975 years); meanwhile, the space-synth atmosphere utterly dominates, not at all fevered or dry, but in true ambient, ethereal forms.

Many memorable things in this third essential album, starting off directly with Friedrich Nietzsche, where the combination of sequences and percussion (played by Harald GROSSKOPF, member of ASHRA that time around) is tumultuous, continuing with the short Georg Trakl, where the repeated rhythm solely crowns the moment, then with Friedmann Bach and Heinrich von Kleist, dark-ambient pieces.