Klaus Schulze Blackdance (Reissue) CD / 5 tracks / 73.33 mins Please go to the Store to buy this item.

A change of labels saw the swift release of 'Blackdance',('Picture Music' having already been recorded in autumn 1973, at the time still awaiting an official release). Perhaps not the most focused of Schulze's early works,'Blackdance' treads a steady path through a variety of moods and atmospheres that some may say makes the music more accessible whilst others may curse that very fact making claim that it causes the album to loose direction. In my own humble opinion l think that by 1974 Schulze had already passed that eureka moment and was searching for something new and different with this recording so as to avoid becoming too formulaic and predictable with his musical approach. The addition of guitar and hand drums in the mix displays something of Schulze's experimental streak, though as Klaus himself suggests, these new additions probably weren't the best of idea's...... nothing ventured, nothing gained l would have thought was the philosophy here.

This reissued album is presented in a gatefolded card clip case featuring all the original artwork together with a 16 page booklet containing many photo's and another very matter of fact, down to earth write up from Mr Schulze. With further insights from Klaus D Mueller regarding the two bonus tracks; the material sourced for this release coming from a 1976 recording session, recorded a month before the release of 'Moondawn'( totalling over 25 minutes of new music) and very interesting tracks they are too!!!

'Ways of Changes'(17.14) gets things off the ground. A thin, reedy almost harmonica-like organ tone meanders its way into the piece which is soon joined by a ripple of acoustic guitar strums from Schulze: a sonic image mirrored perfectly by the desolate alien desert landscapes of the cover art. Klaus comments in the sleevenotes that he regrets putting the guitar into the finished recording, but for me this is the one section of the track that actually works rather well!!! It is from here on in that things tend to go pear shaped with a rather dreadful sounding organ auto-accompaniment,(or it maybe a tape loop? Either way it doesn't really matter, the effect is very much the same). Think of the rhythm section on George McCrae's 'Rock Your Baby', then think of it being played back at about 300bpm and you're in the zone!!! This percussion clacks away about five minutes into the piece acting like a metronome for Klaus to play hand drums against, the whole thing coming out sounding all rather tribalistic. The improvisations which ensue are all organ led, the VCS synth flying effects through the mix. At the organ Klaus sounds like he's reaching for a theme for much of the time, his usual flare and style of play seems to be somehow absent as the frantic sounding rhythm rattles along. A brief respite from the percussion has us briefly repay a visit to the 'Cyborg' sound of pure synth weirdness. The auto rhythm then returns seeing the piece to an awkward sounding close; Klaus also sounding alittle spent for idea's by this time. Was this track one of those experimental moments that should maybe have been left on the back burner?

Thankfully the silky smooth, 'Some Velvet Phasing' pulls things back into some kind of respectable shape. This is beautiful esoteric stuff, l always likened it to Tangerine Dreams haunting little 'Sequent C' track from the 'Phaedra' album, it has many of those same attributes with an eerie little twist in the tail late on in the piece. We're in a rhythm free zone here so just let those creamy smooth phased textures wash over you. Don't get drifting off completely though as this little gem only lasts about eight minutes or so. Certainly something different from Schulze, certainly an album highlight!!!

'Voices of Syn'(22.40) was the final track from the original album. It opens up with the operatic voice of Ernst Walter Siemon. Klaus again explains the origins of the vocal recording in the accompanying booklet. Once the sermonic churchlike organ playing joins the show things tend to go astray pretty quickly until we get into the main body of the track which centres on a heavily treated tape loop which also acts as a rhythmic base for all else to focus upon. Theres more heavy phasing of the organ drones in the foreground,(whose creation also introduces a subliminal thump in the recording, something l hadn't ever noticed before). The completely alien pulse of the main tape loop hammers on relentlessly as the organ steers a course through the track with improvisations a plenty. Schulze introduces the pitched sound of a piano in the distant background prior to the return of the church organ at the fifteen minute mark. The brooding swell of electronica gradually builds to a point where the over the top phasing returns, the piece finally topped off with more synth and tape phased effects.

'Foreplay'(10.33) is the first of the featured bonus tracks and what a welcome addition it is too with the Mellotronic choir of the undead putting in a sizable appearance. This piece recorded 'on the fly' see's one long improvisation on the Mellotron whilst a cycle of electronic explosions and twittering effects skirt around the sonic panorama. The recorded quality is excellent even if the mix lacks the polish and lustre of the other album tracks,( remember this is just Klaus messing around in the studio afterall). My guess is that the same recording session then continued with the second of the bonus tracks, 'Synthies Have (no) Balls?'(14.42). This is a truly fabulous piece, a real event and an absolute must for any of you that are into Klaus's wild drum excursions!!! As psyche outs go, this one is up there with the very best of them as we hear synthster Schulze really getting into a groove and rockin' out. The piece commences with more of the same cyclical electronic explosions,(ala 'Mindphaser') together with a high-register string synth sound. Things grow in intensity, then at the five minute mark a pounding bassline comes straight in alongside screaming synth solo's and Klaus giving the studio's drumkit everything he's got! This is one of those occasions where the energy put into the recording is almost tangible. It sounds like those drums got a real pounding, this really is a no nonsense work out from Schulze that it would be criminal to try and fault. Admittedly in the final two minutes he does start tinkering with the varispeed control of his recorder, but who cares - l've just heard some of the most intense music from Schulze ever!!!

'Blackdance' was my introduction to the music of Schulze many many moons ago and l freely admit that as an album l just didn't get it. As introductions go l'd have to say that it didn't exactly bowl me over. Now, all these years down the line........hmm, as an album concept, l still don't get it. What l hear throughout 'Blackdance' are Schulzes tape loop experiments played back to back with his tried and tested compositional style. For me that obscures the real musicality of some of the pieces, those original album tracks remain as very much a test bed of ideas which struggle to become a cohesive album. In the context of his other releases from around this time, 'Blackdance' does appear to be abit of a musical blip on the otherwise smooth contour of Schulze's sonic development. However, try accepting those same tracks on their individual merits and the album takes on a completely new meaning. On a really positive note l must just add that the bonus material this time around really does bring something 'new' to the album. Do l think that Klaus really put life into otherwise dead machines, or created a baroque styled album as other reviewers have stated...... in a word, no.