Obituary to Klaus Schulz: Future Music from the Instrument Park – Culture

A man and his machines are close to merging views. As Klaus Schulz can be seen at a concert recorded by WDR in 1977, he was all at once: hippie, monk and astronaut. Squatting on a flokati carpet, surrounded on three sides by synthesizers, mixers, sequencers, and recording equipment. He carefully turns the knobs and plays some notes on one of the keyboards.

Dressed in a flowing white shirt, he occasionally rocks his torso, slightly rocking, his hair cut into the hairstyle of a brave prince. Ominous whistling sounds emanate from the machine park, reverberate later and four minutes later a bright pulsating melody begins, which sounds futuristic and romantic at the same time. Future music from the past.

Squatting on a flocati rug

In YouTube comment columns, fans have identified some devices, including Schulze’s legendary Big Moog, a 100-kilogram giant he inherited from Florian Frick, founder of the band Popol Vuh. Also recognizable: Synthi-A, Korg ARP Odyssey, “Oh, and 2 ReVox A77 in the background,” one commenter raves. Contributions have been written in English, French and Russian, among other languages. Klaus Schultz, who died Tuesday at the age of 74, was an internationally acclaimed star.

He worshiped David Bowie and Brian Eno, as well as British musician Richard David James, better known as the Avex Twain. Pieces of it can be found on the soundtracks of films by Hollywood directors Sofia Coppola and Michael Mann. Schulze is considered a pioneer in pop and techno music. But in Germany the pioneer received much less attention.

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Schulz often fended off praise, saying that he did not want to know anything about the revolution in which he participated. “He just did it,” he said, and in terms of his music one should speak of evolution. Born in Berlin in 1947, Schulz began his career as a drummer, playing in the short-lived formations Psy Free and Tangerine Dream. He left Krautrock Ash Ra Temple after they recorded their first album. Schulze wanted to discover electronic music when the founder of Tangerine Dream, Edgar Froese, was still emulating Jimi Hendrix’s rock. In 1972 he released his first solo appearance, Irrlicht. What bothers me the most about the bands are the endless discussions.

Strange music from the walled city

Since the days of the student revolutions, West Berlin has been a center of experimentation, with many people composing strange music. Schulze rose to become a central figure in the so-called Berlin School, and he set standards for his footballing music, based on soundtracks and the quest for infinity. On the album “Moondawn” (1976), which he recorded with his former Ash-Ra-Temple companion Harald Großkopf, you can still hear background noises and fragments of vocals. With recordings such as “Mirage” (1977) or “Dunes” (1979) the sound became more transparent and serious. Music as a form of meditation.

Schulze, who ran a recording studio in Luneburg Heath, released more than fifty albums. His latest work, Deus Arrakis, is scheduled to be released in June. Schulze didn’t know what to do with terms like “cosmic music” or “new age.” New Age is a “I don’t care movement” and Mozic has just been born. He preferred to refer to Richard Wagner and published several long recordings under the pseudonym Wahnfried. He also dedicated pieces to Nietzsche, Friedman Bach, and science fiction writer Frank Herbert.

Schulze was also a discoverer and promoter. In 1978 he founded his music label Innovative Communication. The band’s debut album, Ideal, produced by Schulze, was released there. He loved “Bold Singing” by Annette Hump. As a producer, he has also worked on the groups DIN A Testbild and Alphaville, among others. Alphaville singer Marian Gould said in a radio interview that Klaus Schulze was an introvert. But in such a way that it was the “center, the sun” around which everything else revolves.

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