Online review (translated by Google from Italian - so apologies for inaccuracies/not making sense
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Curiously only now that my fingers rest on the keyboard, coming to the realization that Klaus Schulze should not appear in Metalhead. For those not familiar, Schulze was the drummer of Tangerine Dream, in their early days, and Ash Ra Tempel,then becoming a leading figure not only of Krautrock but the music as a composer, researcher, musician 360 °, in his commitment to finding the best solutions and use of tools, such as the use of the moog. Klaus is a personality, a symbol of eternity, one that can not be ignored, and above all he is the author of hours, months, maybe years of music. Do you know the exact number of albums he recorded or took part and take care that he has collaborated with many. "Shadowlands" is a new studio album, six years later with "Kontinuum" live and some publications, produced by an intense series of concerts. A return that is worth a few words, beyond content. Consisting of three tracks with a total playing time of 75 'on the first CD, "Shadowlands" features a bonus CD with two tracks, one from 55' and the other about 18 '. The first is "Shadowlights", a little over 41 'where a synth floats overlap other and create sound waves of pleasure that expand and take over it inserts violin Thomas Kagermann, who worked with Schulze in 2010. The sound is evocative, gentle, extended over time. An infinite caress, as an excursion through the nebulae of space, the oceans of endless blue or paths in ancient civilizations. But be careful, I wrote synth and certainly there are those, but Schulze has gadgets once and also uses the new technology and, therefore, a simple keyboard filtered or corrected by electronics, vintage or not, becomes an orchestra. There is a whole discography to witness works created by a couple of benches and moog oscillators, generators, filters and other effects that piloting the notes played. "In Between" has the same pleasant sound of a continuous trickle of water in a cave (a kind of artificial percussion with moog) and the background always those that moog synthesizers or tinteggiano shadows for 17 'and a more percussive firm takes over the end of the piece and raises the power that this song manages to have. All flows in the following "Licht und Schatten", another 17 'and more with the opening of a singing voice (go easy to understand if it is a standard or is that Klaus has manipulated all). Here too slowly enters a rhythm that flows and grows and increases the celestial and haunting melody general, the pathos with which it purchases the female voice of the ways even the Middle East. The song ends as if he ascended to heaven, far above the angelic circle. The second disc offers "The Rhodes Violin", 55'24 ". An eternity passes, ends. It 'a composition that is hard to carburetor, with its soft start and then a long time after the first impulses and early evolution of Kagermann, simply delicate and wonderful in its entries. "Tibetan Loop" only 10 "does not reach 18 '. The opening is constituted by a series of distorted waves, very Krautrock of the early times. Continuing the moog take the stage, but with graceful tone and also come in male and female vocals give this last composition is universal, supreme, not definable. Shadowlands is ... yes, the land of the shadow. There is to be afraid. It 'sa world revealed, but it is above what we now do in a few, that is, music as research. Klasu Schulze has always been ahead, creating things that are now widely used. It is no coincidence at the Love Parade in Berlin, 15 years ago, one of the organizers said, as he watched the millions of revelers, "This is all your fault."
(Alberto Vitale) Rating: 8/10
Original page:
http://www.metalhead.it/?p=16591