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Klaus Schulze

La Vie Electronique Volume 1

    ”La Vie Electronique” first was published as a strictly limited 50 CD-Box and is now being released in chronological order in 3CD-sets including some material never released before. This first set contains pieces, which have been recorded between 1969 and 1972 with very simple tools like the Teisco Organ - but with a big vision.

    Klaus Schulze: “It all started about 40 years ago. I suppose you could call it an accident. In the years before, when I still went to school, I had some guitar training. And then I played acoustic guitar for about six years. Also I fooled around with the electric guitar, playing music of The Shadows or The Spotnicks. Then I started with drums. My brother was a drummer with a jazz band, so l thought that drumming would be more pleasant than playing guitar. After that l was drumming in the avantgarde/free rock trio PSY FREE, then Tangerine Dream, and in August 1970 l founded Ash Ra Tempel. One day I said to myself ‘Okay, lt’s all pretty and normal music, but I want to do something special. I should change instruments.’ That was when I started with keyboards. I didn’t know anything about keyboards. I had an old, small, used, electric Teisco home organ. And I had my drumming experiences, and a few special ideas: a kind of dream that I couldn’t explain then, or now. So I started something new. A leap in the dark. “What started as an experiment (and still is) has increased to a giant sound cosmos over the years. On “La Vie Electronique” you have the chance to experience this progression with rare recordings that haven’t been released on the regular albums.”

    “What I called E-Machines at this time were reverb, microphones, a little echo box and a Fender-guitar amp. I connected the amp to the mixing desk, but the output came back from the amp into the mixing desk. When you turned it up, there was a feedback of course, but when you used the “Tremolo-knob” of the Fender, the sound started to modulate. This way I created all the “chirpy” sounds which I later created with the VCS-3. Shortly after I finished the record, the thing was broken. Besides that, I had my Teisco-Organ, which already had a pitch wheel. I opened it and manipulated some cables. I had no idea of technique, but suddenly it sounded totally different. I liked that”.

    Klaus Schulze

    La Vie Electronique Volume 1.0

      Klaus Schulze is a German electronic music pioneer, composer and musician that needs very little introduction. In the late sixties & early seventies he was a member of several iconic bands such as ‘Tangerine Dream’, ‘The Cosmic Jokers’ & ‘Ash Ra Tempel’ before launching a solo career consisting of more than 60 albums released across five decades. Collaborations were numerous and highlights include working with Steve Winwood, Brian Eno & Alphaville… just to name a few.

      Klaus Schulze’s proto moog-synthesizer work is regarded as a milestone in electronic music & during the decades he released landmark albums in genres catalogued as ‘Ambient’, ‘Electronic’, ‘New Age’, ‘Berlin School’, ‘Experimental’, ‘Kosmische Musik’ & ‘Krautrock’. Mr. Schulze had a more organic sound than most electronic artists of the time, often he would throw in decidedly non-electronic sounds such as acoustic guitar and a male operatic voice. Schulze is also known for developing a Minimoog technique that sounds uncannily like an electric guitar, which is quite impressive in concert.

      On occasions he would also compose film scores such as Body Love (1977), Barracuda (1978), Next of Kin (1982), & Angst (1983). His best known song ‘Freeze’ has been used in films like Manhunter (1986) and more recently in Sofia Coppola’s ‘The Bling Ring’ from 2013.

      In 2009, producer Klaus D. Mueller and Schulze began releasing La Vie Electronique (“The Electronic Life”), a series of sets that collected rare sought-after early works & unreleased tracks put in chronological sequence. These sets contain some of the best music Klaus ever created and are early 70’s masterworks that will appeal to both fans and collectors.

      Now available for the first time on vinyl, One Way Static Records presents the first volume in our new archival series ‘La Vie Electronique’. This volume (1.0) focuses on the years 1968-1971 and is spread over two glorious LP’s containing +78 minutes of Klaus Shulze rarities. This deluxe vinyl set also comes with an insert containing extensive liner notes.


      2xDeluxe LP Info: Released for the first time on vinyl.
      The ultimate collection of rare early materials by this electronic music pioneer.
      Comes as a deluxe double LP set with insert and extensive liner notes.
      Limited black vinyl pressing (700 copies) with obi strip.

      Although "Inter*Face" wasn't a typical 80's record of mine you can notice in what era it was made. The tracks really do not sound like what the press called the "Berliner Schule". By the way, we musicians never used this term, we all just happened to live in Berlin -- myself, Ash Ra Tempel and Tangerine Dream. The Simmons drums by Ulli Schober were pretty new at the time. They weren't digital drums but I have alienated them in a way that they sounded slightly digital. The analogue sound was "forbidden" for a while during the early Eighties, and therefore, it was "forbidden" for me to sound analogue. I had already recorded a piece entitled "Death Of An Analogue" on "Dig It" [1980, No. 13 in this edition] because I didn't like the analogue sounds any more. I had exclusively worked with analogue gear for over a decade and I couldn't stand those floating oscillators, that out-of-tune sound and all the whining anymore! Today people consider that sound to be beautiful but in the 80's it was a pain in the ass. In contrast to many people who found the digital sound cold, I found it more interesting than the rumbling analogue sound just because of its clear transparency. You can use both sounds together wonderfully. Percussionist Ulli Schober lived here near the town of Celle. Ulli could also play percussively and that was exactly what I wanted on "Inter*Face". UIli came into the studio and played the fills with the Simmons drums. We met several times afterwards but we later lost touch with each other somehow. The bonus tracks "The Real Colours In The Darkness" and "Nichtarische Arie" are pretty different. The first one is very quiet, the second is pretty rhythmical because of the percussion and there are also vocals. The vocalist, incidentally, was Rainer Bloss. His primary instrument was piano but he could also sing and play the bass, and he was a qualified composer. He was educated in classical music in the former GDR. In the GDR there were the national A, B and C certificates which decided how you were classified as a musician. With the A certificate you were a hobby musician and were allowed to play at private parties, with the B certificate you were allowed to perform in small bars, but only with the C certificate were you entitled to officially call yourself a "musician" and perform in public. In that sense Bloss was a state-certified professional musician, which I noticed when working with him. When you told him to play this or sing that he could do everything! It's a pity that you don't hear anything from him anymore. 

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