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Klaus Schulze - La Vie Electronique Vol. 2 - Re-Launch of the successful series "La Vie Electronique" Vol. 1 to 16 by Klaus Schulze. / This second set contains pieces, which have been recorded between 1972 and 1975. Is it wrong if I state that Klaus was the first who dared to use noise (as in "Electric Love-Affair": a lot of noise and buzz) as stylistic device? The four tracks "Nightwind", "Minuet", "Signs of Dawn", and "Land der leeren Häuser" are from a collaboration in the year 1973 between Klaus and a friend at this time, Hans-Jörg Stahlschmidt. These titles were played and recorded at 'delta acustic" studio in 1973. The proposed group name for Klaus' and Hans-Jörgs collaboration changed between "Tau", "Tao", and "Timewind" (!) Also, a deal with a German record company had already been made, but for reasons unknown today, the album never came out. The music sounds like early 'New Age', but of course this definition wasn't known then. Klaus very own keyboard playing style is already identifiable. Klaus mostly plays the organ, and both played also guitars and bass guitar. The whispering voice on "Signs of Dawn" is Klaus. The singing voice on "Land der leeren Häuser" is not Klaus. The three shorter titles are the original titles as given on the tape box. In 1973, same more "avant-garde" music was done by Klaus, for the radio play "Das Große ldentifikationsspiel (The Big Garne of ldentification)", a Science-Fiction thriller by Alfred Behrens, it won the award: "Preis der Kriegsblinden Deutschlands", and since then it has been regularly repeated on German radio. The tape box says: "Ballett Titanensee", and it dates from about 1973.
Klaus Schulze - La Vie Electronique Vol. 2 - Re-Launch of the successful series "La Vie Electronique" Vol. 1 to 16 by Klaus Schulze. / This second set contains pieces, which have been recorded between 1972 and 1975. Is it wrong if I state that Klaus was the first who dared to use noise (as in "Electric Love-Affair": a lot of noise and buzz) as stylistic device? The four tracks "Nightwind", "Minuet", "Signs of Dawn", and "Land der leeren Häuser" are from a collaboration in the year 1973 between Klaus and a friend at this time, Hans-Jörg Stahlschmidt. These titles were played and recorded at 'delta acustic" studio in 1973. The proposed group name for Klaus' and Hans-Jörgs collaboration changed between "Tau", "Tao", and "Timewind" (!) Also, a deal with a German record company had already been made, but for reasons unknown today, the album never came out. The music sounds like early 'New Age', but of course this definition wasn't known then. Klaus very own keyboard playing style is already identifiable. Klaus mostly plays the organ, and both played also guitars and bass guitar. The whispering voice on "Signs of Dawn" is Klaus. The singing voice on "Land der leeren Häuser" is not Klaus. The three shorter titles are the original titles as given on the tape box. In 1973, same more "avant-garde" music was done by Klaus, for the radio play "Das Große ldentifikationsspiel (The Big Garne of ldentification)", a Science-Fiction thriller by Alfred Behrens, it won the award: "Preis der Kriegsblinden Deutschlands", and since then it has been regularly repeated on German radio. The tape box says: "Ballett Titanensee", and it dates from about 1973.
885513001108
La Vie Electronique 2
Artist: Klaus Schulze
Format: CD
New: In Stock - Orders filled within 2-3 business days $23.99
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Formats and Editions

DISC: 1

1. North Of The Yukon
2. Nightwind
3. Minuet
4. Signs Of Dawn
5. Study For Phillip K. Dick
6. Geburt der Moderne
7. Devil May Care
8. Les 7 boules de cristal
9. On a marché sur la lune
10. Der Schrecken vom Amazonas
11. Schier unendlich
12. Chaos
13. Gaia
14. Uranos
15. Electric Love Affair
16. Land der leeren Häuser
17. Studies For Organ, Keyboards And Drumset
18. Memento Mori
19. Tooth Of Time
20. Every Inch A King
21. Chronique scandaleuse
22. Con amore
23. Last Not Least

More Info:

Klaus Schulze - La Vie Electronique Vol. 2 - Re-Launch of the successful series "La Vie Electronique" Vol. 1 to 16 by Klaus Schulze. / This second set contains pieces, which have been recorded between 1972 and 1975. Is it wrong if I state that Klaus was the first who dared to use noise (as in "Electric Love-Affair": a lot of noise and buzz) as stylistic device? The four tracks "Nightwind", "Minuet", "Signs of Dawn", and "Land der leeren Häuser" are from a collaboration in the year 1973 between Klaus and a friend at this time, Hans-Jörg Stahlschmidt. These titles were played and recorded at 'delta acustic" studio in 1973. The proposed group name for Klaus' and Hans-Jörgs collaboration changed between "Tau", "Tao", and "Timewind" (!) Also, a deal with a German record company had already been made, but for reasons unknown today, the album never came out. The music sounds like early 'New Age', but of course this definition wasn't known then. Klaus very own keyboard playing style is already identifiable. Klaus mostly plays the organ, and both played also guitars and bass guitar. The whispering voice on "Signs of Dawn" is Klaus. The singing voice on "Land der leeren Häuser" is not Klaus. The three shorter titles are the original titles as given on the tape box. In 1973, same more "avant-garde" music was done by Klaus, for the radio play "Das Große ldentifikationsspiel (The Big Garne of ldentification)", a Science-Fiction thriller by Alfred Behrens, it won the award: "Preis der Kriegsblinden Deutschlands", and since then it has been regularly repeated on German radio. The tape box says: "Ballett Titanensee", and it dates from about 1973.
        
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