Recorded in 1976 and released the next year, Body Love, Vol. 2 was intended as a soundtrack for a pornographic film. Nothing wrong with this in and of itself, but it is hard to imagine that Schulze's trance-inducing electronic improvisations would be considered an appropriate soundtrack for sex. "Nowhere - Now Here" has a basic beat and spacy synths, but after 18 minutes, when the harpsichord solo starts, the simple prog rock absurdity of it shows that Schulze isn't taking his assignment too seriously. The dubbed-out introduction to "Stardancer II" shows a different side of Schulze's muse, but as it gets interesting, the regular synths start up and things return to normal. "Moogetique" is an atmospheric closer, 12 minutes of slowly undulating synths and ambient echoes…

In Blue is a double CD from the great Klaus Schulze. This set has almost 160 minutes of pure "Klaustrophobia." That means that these three long-form compositions are full of sequences, dense atmospheres, and drawn-out synth washes. Schulze invited Manuel Göttsching, his former Ash Ra Tempel partner, to play guitar on one of the compositions, "Return of the Tempel." Each of the compositions has several movements, each relating to blue - the color or the mood. Schulze is in rare form on this set. It has textures and timbres of minimalism. The sequences are gentle and subtle. It had been four years since Schulze had done a regular studio album and this - after a Wahnfried disc, a classical CD, an opera, and a live release - is refreshing. He shows that he is just as adept at ambient as he is at the Berlin school.

Angst is a unique soundtrack for a documentary film about judicial scandal in Austria. The music came first and the film was edited to fit the soundtrack, so the score drives the film. Klaus Schulze called upon his many influences to build this project. The primary style is Berlin school, but Schulze uses his symphonic synths, his classical training, and his atmospheric sensitivity as well. For the most part, it does work as a stand-alone musical event, but loses some of its impact with the rhythmic pieces. They have drama and mystery and are, undoubtedly, important to the score - they just don't stand alone.

Electronic music pioneer Klaus Schulze has released Silhouettes, his first album of new music in 5 years. “In the wake of your 70th birthday, you naturally find yourself looking back at the past,” notes Schulze. “So the result is a reorientation, a renewed awareness of what is really important.” With this album, Schulze says that he has tried to reduce his music to its essential elements. “No great distractions, nothing to force your attention in a certain direction, no major effects or gimmicks, no frills or dominant rhythms,” he explains. “ It was important to me to paint the pictures in the depth of the space, the sonic fields of tension and atmosphere.”

Shadowlands contains just five tracks over 2 CDs, and as we've come to expect from Schulze, look for plenty of mind expanding explorations into space and loads of calming tranquility. The near 57 minute "The Rhodes Violin" offers up soothing, at times fluttering synth washes, brief spoken word vocals, and a myriad of ethnic Middle Eastern instruments. The epic title track opts for more menace, and will remind some of the early Tangerine Dream material, complete with ominous synth & Mellotron sounds plus those Middle Eastern influences. You'll even find some intriguing space rock mixed with programmed dance rhythms on the intriguing "In Between". With well over 2 hours of material on Shadowlands, there's a lot too digest, and unless you are a real fan of electronic/ambient/space rock…

2007 is a milestone year for German electronic music pioneer Klaus Schulze. He celebrated his 60th birthday on August 4th and has also released an excellent solo album entitled "Kontinuum". "Kontinuum" is 76 minutes of continuous music consisting of three long tracks that form one long piece of music. Musically, the album is journey into Klaus Schulze's past, present and future as a musician. Fans of his classic 70's style will definitely feel at home listening to this disc. There are also elements that will appeal to fans today's techno and trance music as well.

La Vie Electronique is a series of 3-disc CD releases by Klaus Schulze, reissuing material from his limited edition 50-disc CD box set The Ultimate Edition (2000), which itself collected the previously released limited edition multi-disc box sets Silver Edition (1993, 10 discs), Historic Edition (1995, 10 discs), and Jubilee Edition (1997, 25 discs), along with an additional 5 discs. The series began in 2009 with a plan to release all the music from The Ultimate Edition in chronological order. Four volumes were released in 2009, and four more were released in 2010. The next two volumes were released in 2011, with the next two following in 2012. The thirteenth volume was released in 2013, and the fourteenth and fifteenth volumes in 2014. The sixteenth and final volume, containing five CDs rather than the usual three, was released on May 29th, 2015.

The third in Klaus Schulze's series of three-disc compilations of live and rare material (all of it previously released in his 50-disc Ultimate Edition box from 2000) is pure bliss for fans of early-'70s analog synthesizer music. The melodies swoop and whoosh like comets passing by a slowly drifting space station manned by dudes and ladies in unisex jumpsuits with long, perfectly coiffed hair, and beards on the men. Close your eyes and you're there. Many of these tracks are grouped into half-hour suites, but at the same time the whole nearly four-hour document can be seen as one solid piece of art, or a shaving from a vast iceberg. Schulze's droning pulses are like the rhythm of the universe, unending and, while beautiful, totally inhuman. If Kraftwerk was the sound of musicians attempting to become machines, Klaus Schulze's work is the sound of one musician attempting to become a planet. The beeping rhythms, like a heart monitor, provide a slight anchor to keep one from floating away completely as this music spins itself out in ever wider spiraling arcs across endless vistas of empty space, but the ultimate effect is near-total trance.

For the first time, from the vaults of electronic music guru, Klaus Schulze, comes The Schulze-Schickert Session, a rare and previously unreleased private session featuring echo-guitar pioneer Günter Schickert. Recorded on 26 September 1975 in Klaus Schulze's home studio in Hambuehren, Germany, Schulze can be heard playing an EMS Synthi A, as well as keyboards, and a Syntanorma, while Schickert plays a 12-string Framus with metal strings and also sings on a few tracks. Although Schickert's name is little-known outside of a very select circle of krautrock fans, he was a key member of the Berlin free jazz scene of the 1960s and a pioneer of the echo-guitar.

Beyond Recall is the twenty-third album by Klaus Schulze. He sticks to a tried-and-true formula and incorporates sequences, samples, atmospheres, riffs, and melodies into his sound design. And there is no theme that is particular to this CD. There are five pieces, and each piece has its own thematic integrity. This is the second of seven early-1990s Klaus Schulze albums not to be reissued by Revisited Records.

On August 4, 2007, Klaus Schulze celebrated his 60th birthday. Most electronica providers of 2007 and 2008 were not as old as Schulze, but then, Schulze is someone who - like Brian Eno and Kraftwerk - was using synthesizers before they were truly in vogue and before many of today's electronica artists were even born. Thankfully, Schulze hasn't run out of ideas after all these years, and on Farscape, he fulfills a longtime ambition: collaborating with Australian singer Lisa Gerrard (of Dead Can Dance fame). This two-CD set is best described as an extended piece that lasts 153 minutes; that piece, which is titled "Liquid Coincidence," is broken down into seven parts. Schulze handles the electronic programming on this 2008 release, while Gerrard provides all of the vocals - and all seven parts of "Liquid Coincidence" have a floating, airy, atmospheric quality…

One of the great overlooked albums of the 1970s, Time Actor was the result of a collaboration between legendary Crazy World & Kingdom Come visionary Arthur Brown and German Synthesiser and Ambient genius Klaus Schulze, recording under the pseudonym of his alter-ego Richard Wahnfried. The resulting record was a unique fusion of Brown’s amazing vocals and eccentric musical visions and Schulze’s innovative keyboard playing. Originally released on the German Innovative Communication label, Time Actor also features special guest Vincent Crane (who recorded a collaborative album with Arthur Brown for the label during this period). This newly re-mastered reissue restores the original album artwork and includes a new essay.

Volume Two (three CDs) in this series reissuing all the material found on the long out of print Ultimate Edition box sets (for more background on the series as a whole, see La Vie Electronique 1) is much more interesting than volume one, and the pick of the first six volumes. The music comes from 1972-1975 (but mostly 1972-1973), a rich period of experimentation, as Schulze was gradually forging what would be known as his "classic" sound, nearly palpable by "Blaue Stunde," the 38-minute piece from 1975 concluding the set. This second installment contains more finished works than the drafts-and-jams-packed volume one. "Das große Identifikationsspiel" (42 minutes) is a very good suite of rather experimental music written for a science fiction radio drama by Alfred Behrens. The 27-minute "Titanensee" was done with a ballet in mind, never to be produced; again, it is a strong work in Schulze's experimental vein. However, the undisputed highlight of volume two is a whole album's worth of collaborations with Hans-Jörg Stahlschmidt, a project that had been brought to completion, only to gather dust on a record company's shelves.

The limited-edition box sets in the Edition series (Silver Edition, 1993, ten CDs; Historic Edition, 1995, ten CDs; Jubilee Edition, 1997, 25 CDs; all gathered [with extra material added] in Ultimate Edition, 2000, 50 CDs) are the most sought-after items in Klaus Schulze collectors' circles, exchanging hands at outrageous prices. In 2009, Klaus D. Mueller and Schulze began releasing La Vie Electronique ("The Electronic Life"), a series of three-CD sets that reissued all the material previously released in these long-deleted box sets, plus a few unreleased tracks, with all the material put back in chronological sequence (the Edition sets mixed things up, time line-wise). Volume 1 covers the years 1968-1972 and is mainly very interesting. One highlight is "I Was Dreaming I Was Awake and Then I Woke Up and Found Myself Asleep," a previously unreleased 25-minute piece that, is stronger than Irrlicht, Schulze's debut LP. "Cyborgs Traum" is also major Schulze material.

Complex re-release of the most remarkable and worldwide sought afterSeries The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and the Bonus CD. Their relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on 'Dark Side Of The Moog, Vol.8' (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset).