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viewing 1 To 25 of 51 items
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2CD
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MIG 1880CD
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Klaus Schulze talks about Ballett: "Apart from Ballett 1 & 2 the Contemporary Works boxset also contained Ballett 3 and Ballett 4. All four pieces were originally intended to be one composition in honor to my mother who had been a ballet dancer and had died in 1998. I never assumed that the ballet would be performed with dancing. Then I would have to cut down to about 15 or 20 minutes and would probably have to throw away all my favorite parts, which would be quite difficult! The music could have had another title but since it was the first production I did after the death of my mother, I called it Ballett and just numbered the four parts. Ballett 3 once again features traditional instrumentalists such as Thomas Kagermann (violin, flute), Wolfgang Tiepold (cello), and Tobias Becker (oboe). Obviously, I could have played Tobi's oboe or Tiepold's cello with a sampler but it's really something different when those instruments are played live as there is a wonderful interaction with my electronics. Then, you not only have the instruments but also the musicians' ego. If I play a cello sample then I'll do it the way I play keyboards. However, a cellist or oboist plays the 'real' instrument with all the subtleties that come with playing, which a sample can never reproduce. The pure sound of an instrument is not the crucial thing here however. It's the musician's personality that is important as it determines the character of the music."
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2CD
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MIG 1310CD
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"Once again, past master Klaus Schulze appears to be in top shape on his twelfth solo album. There is almost no-one who can hold a candle to him as a live musician performing on the synthesizer. The Meta Musik festival at the National Gallery in Berlin, from which the ...Live... track 'Sense' was taken, was an event arranged by Walter Bachauer. He was the head of programs at radio station RIAS. He also was a big fan of minimalist music. The bonus track 'Le Mans au premier' is taken from a concert at the abbey L'Epeau near Le Mans in France on November 10th 1979. 'My music is very emotional and spontaneous, so I play in a quieter mood in a church or an abbey than at the Palais des Sports in Paris for instance. The atmosphere of the place always strongly influences me; that's why 'Le Mans au premier' is also one of my quieter live recordings but a very nice one nevertheless.' --Klaus Schulze."
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MIG 1640CD
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"Years before even the first movie adaptation of Dune was made, Klaus Schulze already turned his love for the book into a breathtaking album. Dune is one of Schulze's most important albums, featuring two long-form compositions. The second track features Arthur Brown on vocals and Wolfgang Tiepold on cello. The track 'Dune' perfectly encapsulates the vast landscapes of the desert planet, while 'Shadows of Ignorance' captures the religious intrigue of the story, thanks to the interpretation of one of Schulze's poems by Arthur Brown. Re-release in a stylish digipack with enhanced booklet, including detailed liner notes and photos. Featuring 23-minute bonus track."
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3CD
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MIG 110CD
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"La Vie Electronique first was released as a strictly limited 50 CD-Box and later it was released in chronological order in three-CD-sets including some material never released before. 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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MIG 1530CD
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"Re-release of the originally 1974 released Klaus Schulze-classic album Timewind, incl. generous bonus and a 16-page booklet. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, 'Movements of a Visionary', but it remains a transitional work somewhere between the krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner, Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself."
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3CD
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MIG 120CD
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"Re-Launch of Klaus Schulze's successful La Vie Electronique series (Vol. 1 to 16). La Vie Electronique first was published as a strictly limited 50 CD-Box and later it was released in chronological order in three-CD-sets including some material never released before. Thanks to volumes like this one, no longer can newcomers (or even diehard enthusiasts) desiring Klaus Schulze's music use the excuse of its unavailability to deny themselves the pleasure of experience. Already, the glut of this singular musician's back catalog has been revived in full, beautifully reissued and repackaged; all of his original, notoriously hard-to-find (well, at least for those of us living on the other side of the Atlantic) recordings, most containing additional tracks, are now easily obtainable, and instantly collectable. The ear can become reacquainted with the vast expanse of Schulze music from its earliest beginnings right up and into its modern incarnations, robust with the now-patented lengthy irises, numerous kaleidoscopic events, and still-innovative breadth of tonalities that have become the artist's stock-in-trade."
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MIG 190CD
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"Part 10 of the great Klaus Schulze retrospective -- now available as a jewel box. This three CD set contains rare and previously unreleased recordings from 1985 to 1993. The track 'Unheilbar Deutsch' was recorded during a concert at a German radio station in Cologne, in January 1985. 'Maxxi' is the only maxi single that KS ever did. It was recorded by KS in March 1985, on request from a record company, and 'for the discos.' The tracks from 'Walk the Edge' are soundtrack recordings for the American violent crime movie Walking The Edge (also known as The Hard Way) by director Norbert Meisel. 'Havlandet' is again a soundtrack. It contains ten parts (let's call them 'sketches') for the Norwegian movie Havlandet. 'Goodwill' is one track from a handful of poppy experiments that Klaus did in 1991 as a kind of research exercise on popular music. The three Spanish are encores from the concerts in Spain in October 1991. The famous Bach title was played and recorded by Klaus in 1992, and remixed by him in 1993. Intended for the CD release 'Midi Klassik' (called by the company: 'Klaus Schulze Goes Classic'), but not used then because of lack of space. There is another bonus track, 'Weiter, weiter!' which is an encore from the concert in the German town of Aachen, from the tour in 1985."
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MIG 1420CD
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"'Re-issue of the originally 1972 released Klaus Schulze album Trancefer, including extended liner notes and bonus tracks. Always a soundwave in front of the rivalry, Schulze is presenting his album together with the percussionist Mike Shrieve (Santana), who performs real marvels on his two barrels, and the cellist Wolfgang Tiepold, who forms a pleasant contrast to Schulze's often hard and strictly synthesizer patterns with his warm touch.' --(Stereoplay, Germany, 1982)"
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3CD
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MIG 153CD
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"Re-Launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new jewel box. MIG will gradually make the out-of-print volumes available again. CD 1, on the one hand, contains the second part of the Oberhausen-concert, with 'Schwanensee' on the other: two solo pieces which were recorded in 1976 in the studio in Hambühren. 'Fear at Madame Tussaud's' was recorded in April, 1977 in the London planetarium -- at that time a novelty, for it was the first time that a concert was held in a planetarium. 'Zeitgeist' is a concert which was recorded on October 17th, 1977 in front of 5500 people in the Saint Michael cathedral in Brussels, while 'Inside The Harlequin' is the encore of this evening. The recording date of 'La Vie Secrète' cannot be accurately determined. Recorded either in 1977/78 or 1975, this piece remains a very quiet, almost meditative jewel. In contrast to this stands 'Barracuda Drum,' recorded about 1978 with Harald Grosskopf on drums. Last but not least at the end of the third CD we encounter the Klaus Schulze of 1979: in October and November of that year Klaus Schulze was on tour with Arthur Brown ('Fire'). 'There was Greatness in the Room' is a fragment of the encore of concert from October, 29th 1979 in Brussels. Besides the voice of Arthur Brown, the vocoder-voice of Klaus Schulze can also be heard on this recording."
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LP
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SIR 016LP
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2023 repress. 2019 release. Praised by Quentin Tarantino as one of the greatest films from Australian new wave cinema, Next Of Kin (1982) was a highly stylized psychological thriller in the bloody tradition of European art-horror. Scored by none other than ex-Tangerine Dream/Ash Ra Tempel drummer and German electronic music pioneer, Klaus Schulze, the music featured in the film was a unique hybrid of pulsing Giallo-moods and hypnotic Berlin-School electronica. Due to the limited availability of the film over the years, rumors have long circulated amongst horror film fans as well as 'Krautrock' enthusiasts alike that a lost Klaus Schulze soundtrack existed. Commissioned to write the score, it is true that Schulze composed an original full-length soundtrack for Next Of Kin, although for editorial reasons the complete score was rejected at the last moment by the filmmakers in favor of using pre-existing tracks from Schulze's studio albums. The final soundtrack consisted of partial elements of this rejected score together with various pieces of early '80s Schulze recordings edited and re-contextualized. Finally rediscovered, the music has been assembled and presented here exactly as featured in the film, documenting a previously lost entry of German kosmische musik soundtracking a forgotten piece of Australian Gothic. Remastered from the original master tapes.
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LP
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MIG 2451LP
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2024 restock. "Megatone is the third studio album by Klaus Schulze's side project, Richard Wahnfried, released in 1984. On this album, Schulze collaborates with Michael Garvens, Axel-Glenn Müller, Ulli Schober, Michael Shrieve and Harald Katzsch. During the eighties, the German synth legend Klaus Schulze pursued his solo adventure, working at the same time for his Wahnfried project. This Megatone brings something new to his usual 'kosmische musik'. A new element appears once again after the classic Time Actor; the presence of a singer (Michael Garvens). The voice appears in the modern and 'mechanical' electronic piece called 'Angry Young Boys'. Schulze synth explorations are also sustained by guitar parts and sequencers, drum-machines. This vast and epic cosmic 'trip' mixes pure atmospheric realms (the synth strings) with perpetual, repetitive drum rhythms. Megatone is a deep electronic album but not as abstract or as meditative as before. The electronic pulsations and the pop arrangements put Schulze's music into a more 'mainstream' level."
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LP
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MIG 621LP
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"The album Tonwelle is the result of Klaus Schulze's collaboration with some well-known musicians. Therefore, the album was released in 1981 as a vinyl under the artist's name Richard Wahnfried, featuring among others, Manuel Göttsching (Ash Ra Tempel) and Michael Shrieve (Santana). This original vinyl release was intended to be played at 45 RPM, but Klaus has already mixed the album so that it can also be played at 33 RPM. The now released vinyl edition contains the 45 RPM version -- newly mastered from an original mint vinyl that has never been played."
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3CD
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MIG 750CD
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"Disc 1: 'Picasso...' is Klaus' longest composition so far. Originally there were various 1992-93 recordings for a film soundtrack, but the film producer could not pay for it and accordingly Klaus withdrew his collaboration and his music. For the Silver Edition release I put the music in logical order. It continues on the Disc 2. The denomination of 'Picasso geht spazieren' was 'Picture Music in Three Movements' due to the fact that twenty years earlier Klaus invented the term 'Picture Music' for one of his earliest albums. This description and name did still fit in 1993 ...especially with the variety of sampling pictures you'll hear while dear old 'Picasso Takes a Walk'. Disc 2: In 1995, '96, '97, '98, '99 and also in the year 2000 the more than two and a half hours long(!) 'Picasso geht spazieren' was elected by the members of 'The KS Circle' among the top ten of the most popular of the many KS titles, the highest position was number 3 in 1997. Disc 3: The original tape of 'The Music Box' had the working title 'Meditation I' first. Klaus recorded it in 1993 and gave it for free to the 'Guttemplers', an institution that helps alcoholics. For the first release in Silver Edition I had given it the full title 'The Music Box -Tongemälde in fis-moll' (Sound picture in F sharp minor). PS: Of course, I had the famous movie in mind when I invented the title 'The Music Box', yes, I speak of Laurel and Hardy's only Oscar winning epos (the one with the piano up (and down) the many steps). I did put some other Laurel and Hardy titles and references in Silver Edition. Not just KS believes that the two (and also W.C. Fields) were true geniuses, they put their souls into their work."
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3CD
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MIG 143CD
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"Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 5 contains works from 1976 to 1977. 'Berlin Schönberg' was recorded in 1976 on a radio concert in Berlin. 'Vie de rêve' is from a concert from the same year, recorded in Reims in France. 'Nostalgic Echo' and 'Titanische Tage' are also solo concerts from 1976. One year later 'For Barry Graves' was recorded -- a short kurzes concert for the WDR-program Musik Extra 3. 'The Oberhausen Tape' was recorded in 1976 (the second part of this concert is on La Vie Electronique Volume 6). 'The Poet' finally is a typical gem from the Moondawn era."
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3CD
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MIG 412CD
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"The Big In Japan album by Klaus Schulze was originally released on April 19, 2011 on the Made in Germany label. German synth master Klaus Schulze arguably peaked in the mid-70s with albums like Timewind, Cyborg, and Moondawn, but he's still got a sizable cult audience, he passed away on April 26, 2022. Big In Japan was recorded in Japan in 2010, it clearly shows that while generally speaking, he's who he always was, his music has evolved over time. Indeed, this performance is notable for featuring Schulze on electric guitar (on 'Sequencers Are Beautiful') as well as more percussion than usual on 'La Joyeuse Apocalypse'. Big In Japan CD music is a three-disc set with five songs."
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MIG 2040CD
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"Re-release of the high acclaimed album Virtual Outback (originally released 2000 as part of the strictly limited and long exhausted five-CD-boxset Contemporary Works II).'Virtual Outback' was just one single track: the elegiac 65 minute 'The Theme: The Rhodes Elegy', one of the most favorite of many Schulze fans. The bonustrack is from a filling work for the Chinese mass rally 'China Millenium' on the occasion of the turn of millennium 200/2001. After Klaus' delivery the Chinese government said: 'NO - WAY'! First Klaus used the old Mao song, divided by cutting and transposing, and second he used an ethnic sample from Mongolia. That wasn't possible too, due to the fact that Mongolians are a minority in China. The Chinese government stated: either you respect all minorities or no one. Another pearl from the huge Schulze Cosmos."
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2CD
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MIG 620CD
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"The album Tonwelle is the result of Klaus Schulze's collaboration with some well-known musicians. Therefore, the album was released in 1981 as a vinyl under the artist's name Richard Wahnfried, featuring among others, Manuel Göttsching (Ash Ra Tempel) and Michael Shrieve (Santana). This original vinyl release was intended to be played at 45 RPM, but Klaus has already mixed the album so that it can also be played at 33 RPM. The now released double-CD version therefore has CD 1 = in 45 RPM version and then CD 2 = 33 RPM version. Newly mastered from an original mint vinyl that had never been played."
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3CD
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MIG 132CD
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"Re-launch of the successful and famous La Vie Electronique series by Klaus Schulze. Each volume contains 3 CDs and an extended booklet with photos and extended linernotes. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 4 contains music from Schulzes 'golden era' in the mid 70ies -- the peak of German electronic music in the 20th century."
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3CD
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MIG 122CD
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All solo Schulze recordings from 1975. "Re-launch of Klaus Schulze's successful La Vie Electronique series (Vol. 1 to 16).La Vie Electronique first was published as a strictly limited 50 CD-Box and later it was released in chronological order in 3CD-sets including some material never released before. Do Synthesists Dream of Electric Bleeps? Thanks to volumes like this one, no longer can newcomers (or even diehard enthusiasts) desiring Klaus Schulze's music use the excuse of its unavailability to deny themselves the pleasure of experience. Already, the glut of this singular musician's back catalog has been revived in full, beautifully reissued and repackaged; all of his original, notoriously hard-to-find (well, at least for those of us living on the other side of the Atlantic pond) recordings, most containing additional tracks, are now easily obtainable, and instantly collectable. The ear can become reacquainted with the vast expanse of Schulze music from its earliest beginnings right up and into its modern incarnations, robust with the now-patented lengthy irises, numerous kaleidoscopic events, and still-innovative breadth of tonalities that have become the artist's stock-in-trade."
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3CD
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MIG 112CD
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"Re-Launch of the successful and famous La Vie Electronique series by Klaus Schulze. Each volume contains 3 CDs and an extended booklet with photos and extended liner notes. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 2 contains pieces, which have been recorded between 1972 and 1975. Beautiful gems of classical Schulze that mark a change, from early experiment (La Vie Electronique Vol. 1) to the Klaus Schulze as we know & love him since Timewind and Moondawn."
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3CD
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MIG 102CD
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"Re-launch of the successful and famous La Vie Electronique series by Klaus Schulze. Each Volume contains 3 CDs and an extended booklet with photos and extended liner notes. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 1 contains works from the very early era of Klaus Schulze (1969-1972). Amazing document to listen to Klaus playing electronic music at a time, when this genre didn't even exist!"
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3CD
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MIG 140CD
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"Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 5 contains works from 1976 to 1977. 'Berlin Schönberg' was recorded in 1976 on a radio concert in Berlin. 'Vie de rêve' is from a concert from the same year, recorded in Reims in France. 'Nostalgic Echo' and 'Titanische Tage' are also solo concerts from 1976. One year later 'For Barry Graves' was recorded -- a short concert for the WDR-program 'Musik Extra 3'. 'The Oberhausen Tape' was recorded in 1976 (the second part of this concert is on La Vie Electronique Volume 6) 'The Poet' finally is a typical gem from the Moondawn era."
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3CD
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MIG 170CD
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"Re-launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new digifile. MIG will gradually make the out-of-print volumes available again. During the years 1977 to 1983 Klaus Schulze recorded some of his more introspective works. Albums like Mirage, Dune, and Dig It saw a significant change in his style of playing and his way of composing. While Schulze was quickly expanding his collection of synthesizers, that ultimately had its effect on the outlook of the music and the possibilities of performing that in a more exquisite way. Play a track like 'Synthasy' and notice that Schulze has come a long way since Timewind and Moondawn. On this 8th part of La Vie Electronique there's a selection of stuff that was archived beside his official albums in those years."
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CD
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MIG 1892CD
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'Re-release of the sought-after Klaus Schulze album 'Cocooning', previously released as part of the strictly limited and long exhausted 5CD Boxset Contemporary Works II (2002). Track 'Easy Listening' is well-defined by the relaxed loops of Tom Dams and the filigree guitar play of Michael 'Mickes' Luecker. The mysterious sounding 'And She Is Kind And Gently' don't need any rhythm -- a dialogue between Klaus and Tobias Becker, whose oboe and English horn is pleasing the ear on almost all Cocooning tracks. The third track 'I Just Have To Sing My Hymns' brings back further well known companions of Klaus Schulze: singer Julia Messenger and Thomas Kagermann on violin, flute and vocals. The last five songs are a song connected cycle of 'It Still Is Now', 'Blowin' Thru The High Grass', 'Many Dreams Have Faded In', 'Many Fears Have Vanished' and 'As Years Went By'. A worthily and impressive continuance of 'Easy Listening' full of atmosphere. The title Cocooning is program and coats the listener into soft sounds and relaxed rhythms - real 'easy listening' without getting fiddling or even boring. Another pearl from the huge Schulze Cosmos."
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MIG 1692CD
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"Re-Release of the Klaus Schulze's Miditerranean Pads, one of the most percussive albums of Klaus Schulze. 'Miditerranean Pads is the sensation of the year.' (PhloxNotes/Netherlands, May 1990). Klaus was in the mood for drums again. But he didn't want to play the drums, like he did in the sixties, but rather compose drums. At that time a variety of drum samples were available for the first time, like Japanese drums, talking drums etc., used by Klaus on this wild 'sampling aria.' Another gem from the huge Schulze cosmos."
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