Klaus Schulze Moonlake Please go to the Store to buy this item.

Hallelujah!!! It's been along time coming, but it's here at last!!! A bona fide 100% Klaus Schulze solo studio release. Surprising as it may sound given Schulze's prolific output via other sideline projects it seems amazing that we have not actually had a proper solo studio album from Klaus since last century!!! Hell, l think l was still in nappies way back then, (am unfortunately much nearer the adult diaper stage now). OK, well chances are that 'Moonlake' is going to sell one or two copies along the way regardless of what l have to say here, so for all you folks out there in SMD land that are still undecided about the release read on, this is a real upbeat powerhouse of an album.

Schulze wastes no time at all pussyfooting around with bleeps, buzzes and subtle pad sounds. The cosmic appearance of the cover art belies an album that could have so easily been subtitled 'Let me entertain you' as that's what it sounds like Schulze is intent on doing in a no nonsense fashion right from the get go. With a largely percussive set of tracks, (2 studio live recordings & 2 live in Poland 2003) the album clatters along. Something for everyone?? Well maybe not, no wishy washy sublime builds or protracted dreamy passages, to me it sounds very much like Klaus is out to capture a whole new audience as well as bringing along many of his faithful 'old guard' of stalwart followers!!! It's true he sticks to his tried and tested methods of composition, but at the same time goes down that rhythmic road with many ethnic flavours thrown into the mix. That said, l'd also like to point out that this is by no means some kind of new age/ world music album though as the sound of drums hammers out a very clear path for the tracks to follow.

I am pleased to see that the new release is thoroughly in keeping with the current series of definitive Schulze re-issues with the gated card folder sleeve and transfer inlays/images making up the package, all very classy together with a separate 16 page booklet crammed full of live show images of Klaus infront of his 'big wall' of synths.

Poignant is the footnote of dedication to Robert Moog, (famous as the inventor of the synth which carried his name for many years) who passed away earlier this year. I can't think of a time when a simple reminder on an album such as this has been more appropriate. That Moog synth sound leading the way on many many Schulze albums of yesteryear.

Onto the music proper: - 'Playmate in Paradise', (30.07mins) soon lunges forward from a sedate beginning into a rhythmic backbeat that romps over the first half of the track sounding very contemporary and 'of the moment'. With a distinctly ethnic undercurrent and an all too familiar Schulze pad and chord progression little time is spent on outlandish soloing, everything is kept restrained. Klaus playing counterpoint to some snazzy phrase sequences. A wordless vocal conjures up some Middle Eastern promise as the track evolves, but again it's an element in the track that is handled with great care whilst the percussion keeps the piece firmly anchored in rhythmic territory. Gradually proceedings thin out into a bridging section laced with effects and general weirdness, but no time to waste as soon a simple three note sequence beckons to the fore and the pace has picked up once more. Shortly a bassline mirrors the sequence pattern and the forceful drums make their presence felt once again. This is really excellent stuff, and as we hit the 21 minute mark, Klaus plugs the Moog in and away we go with some wonderful soloing playing against the wordless vocals which return afew minutes later. Finally we hear things broken down until just the fractured chords remain and to be honest l really can't fault this epic track. Start to finish its all paced brilliantly; you'd never think that when all is said and done the track has lasted more than half an hour!!!

Indian hand drums open up the second piece, 'Artemis in Jubilee',(17.49mins) the mood intensified alittle more by additional ethnic drums played in unison prior to even more contemporary drum sounds being added pushing things along into an upbeat groove. This second studio track not sounding a million miles away from the first has alittle more pace, thankfully it's the Schulzian strings which bring this one back from brink of becoming an out and out commercial track. The lilting orchestral strings sounding reminiscent of something from the 'Dreams' album or one of his old tape loops.

Track three, 'Same thoughts Lion',(10.38mins) is the first of the live edits and it's a pleasant surprise as we find ourselves in Jean Michel Jarre/ Equinox mode the heavily phased/flanged intro leading into a light synthetic habanera!!! Klaus switches to a minor key letting us know it's really him and not Jean Michel, the piece playing out quite happily for some ten minutes prior to Klaus stripping back to sounds bringing the piece to a close. The sound quality is excellent and with no audience interaction you could easily be fooled into thinking that this was another track from the studio.

On the quality control front, the same could be said of the fourth and final track, 'Mephisto',(15.23mins). Again a live recording, again an excellent recording. A mighty speaker busting thwack gets things moving multiple analogue sequencers doing a pretty good job of keeping us lost somewhere in the mid seventies. A mysterious force is at work moody string chords rising in the background as the soundfield gradually fills with the sound of percussion again seated neatly under the polysequenced blanket Schulze has laid out. A key change signals Klaus to reach for the Moog lead nine minutes in and away we go on another live solo for the rest of the piece, freewheeling his way to the end with that big thwack once again.