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

Under the spotlight now is the re-issue of the 1986 album, 'Dreams'. Digital synthesis had taken another step forward and Klaus was there to exploit the power of the new technology. On this occasion recording was accomplished with assistance of some of his musical friends, but it's still very much a Schulze album all the way. This is a CD release of variety and inventiveness which also has me thinking that Schulze raised his game a little on this one.

The re-issued album is now presented to us in a double gate leg card folder with all of the original artwork reproduced as per the 1986 vinyl version. Photographic reproduction of cover art is achieved here again by high quality transfers. The enclosed 16 page booklet provides photos from the era, a section of interview with the great man himself in 2004, and also a two page write up about the album. On the musical front we are treated to a 23.52min bonus track, ( all re-issues will be released with additional material, from the same era whenever possible).

'A Classical Move' gets us right into the swing of things with an opening orchestral hit, improvised strings and a multi-timbral sequence. Soon this is elaborated upon and soon you're only too aware that this could only be the work of Mr. Schulze. Treated drums add edge to the piece. Yes, it's all dry, punchy sounding modern digital synthesis, but classic Schulze for sure.

'Five to Four' at just under eight minutes duration is one of my all time favourite Schulze pieces. Nothing is left to chance; everything is there for a reason. This is a condensed format Klaus Schulze working in a group framework and we find that the track progresses with real drive and purpose. It's a hypnotic, minimalistic piece presented in a very oriental sounding fashion, overlaid with piano and harpsichord tones.

The title track makes its grand entrance with a fanfare of ominous sounding horns only to then veer off into a steady soundbed of slowed samples which finally resolve in a two note loop. Sampled voxy improvisations fight to lift the track from the doldrums, as a sense of mystery enshrouds the listener. Drums are added, heavily soaked in a reversed reverb. It's true, the track still induces a dream state, l still found myself drifting off before the track was through, but to be honest it's not the jolliest of title tracks.

Onto the 4.16min, 'Flexible'. This is a piece sounding to all intent and purpose like a typical piece of 80's contemporary electronica. Nothing wrong with that l hear you cry, Klaus sets up the sequences and drums nicely enough, but l'm afraid its his guesting musicians that screw things up playing guitar over the top of the sequences in a very misplaced, clichéd style with no real feeling or soul in the playing, producing not so much music as muzak!!

Ah good, we're back into safer territory with,'Klausrophony' a piece running at nearly 25mins. The opening sequences sounding very much like a recycled version of the one used on the earlier track 'Five to Four'. For these opening eight minutes or so l've always felt that this was like a kind of 'Crystal Lake' for the eighties, and nearly twenty years on that thought still came back to me immediately. The main section of the piece comes in from nowhere, and all of a sudden you have a beautiful structured slice of mesmerising music to listen to, that you just want to go on for ever and a day. Strong drums and other percussives are added to the mix. Then at the halfway mark a Spanish guitar puts in an appearance, the drums start up again, only this time augmented by heavier electronic percussion. All is looking well for Klaus over the first quarter hour of this very classy piece of music, but then disaster strikes - oh no – vocals!!!!! Things probably wouldn't have been so bad if there were more structure to the lyric and maybe having used a singer that could sing!! This whole episode deteriorates rapidly into something sounding rather like a very bad night of drunken karaoke down the pub – truly awful. Klaus's music is excellent, but virtually drowned out by this aimless warbling; end the track right now!!!

Finally, there may be a reprieve for the album by way of the bonus track, so that at least l can end the review on an upbeat note. 'Constellation Andromeda' (a full explanation is given in the sleevenotes) was a promotional piece culled from 2003 utilizing only the Alesis Andromeda synthesiser. Most demo CD's quickly step through a short series of tracks showing off the strengths and features of the instrument, but not today. A 23.52min chunk of sequencing, that is really just Klaus playing/composing in his own devil may care style is what you get – Schulze fans will love it, not remotely like any demo/promo CD track l've ever heard before, though does come across as lacking any real warmth. All a little too clean cut and clinical. None the less, strong Schulzian music it is, which could quite happily pass off as a modern day album track.